Linda Fleming is always thinking about light—how it moves through, over, and around her work. In conversation, she points out how the play of cast shadows echoes and enlivens the complex, latticed surfaces and curving forms of her sculptures, which range from paper and wood maquettes only a few inches across to powder-coated, lasercut steel
Gisela Colón: Light Effects
It’s a hot, California autumn day when I make the trek out to a Los Angeles valley to meet the second-generation Light and Space artist, Gisela Colón. Her studio, located in an industrial park, is a warehouse space, once home to a plastic manufacturer and a befitting locale for an artist whose preferred medium is
Andrew Lyght: Charting Spatial Wonders
Guyana (which means “land of many waters”) is a small tropical country of variegated rivers wedged between Venezuela, Suriname, and Brazil. Its capital, Georgetown, is perched on the nation’s broad northern coastline, facing a vast expanse of sea and sky.
Nothing is Static: A Conversation with Richard Van Buren
What are these exquisite, abstract forms? What are the materials? How were they made? What are their visual references and influences? These are some of the questions that came to mind when I first saw Richard Van Buren’s mysterious sculptures.
Submerged: A Conversation with Jason deCaires Taylor
Disillusioned with the rat race, sculptor Jason deCaires Taylor chose to dive into an altogether different pursuit. His poetic underwater installations comment on environmental issues, climate change, and rising sea levels while providing new habitat for sea life and foundations for underwater growth.
“Wonder”
WASHINGTON, DC Renwick Gallery From kaleidoscopic prisms to twinkling LED lights, nine room-size installations inaugurated the Renwick’s second reboot since its opening in 1859. Natural references and the importance of labor prevailed, as did explorations of growth and accumulation with materials of everyday life. By featuring contemporary artists Jennifer Angus, Chakaia Booker, Gabriel Dawe, Tara Donovan, Patrick Dougherty, John Grade, Janet Echelman, Maya Lin, and Leo Villareal, the Renwick opted to revitalize its original mission—it was the first private museum in the U.S. dedicated to the visual arts.
Sudarshan Shetty
NEW DELHI National Gallery of Modern Art Sudarshan Shetty, describing his recent installation, Shoonya Ghar (emptiness is the house), has said that it “challeng[es] my own relationship with the market as an artist. Since it is a museum show, this is an opportunity to push those boundaries in my work rather than doing a retrospective, which is what I was offered.” And push boundaries he did, with élan, combining diverse mediums and materials to seamlessly blend the distant past with the present. The inspiration for this body of work came from the great 12th-century Nirgun poet, Gorakhnath, specifically his dohas, or couplets, that speak hauntingly of inhabitants in settlements and places.
Xiaojing Yan
STOUFFVILLE, ONTARIO, CANADA The Latcham Gallery Cloud Cell, the central component in Xiaojing Yan’s recent exhibition “Hybrid Vigour,” is a splendidly ethereal and luminescent installation. Constructed of thousands of freshwater pearls suspended on monofilament between two aluminum squares, this cloud-like rendering uses light and space to great effect. As in the contemplation of clouds, there are many interpretations. Yan’s references include the scholars’ rocks prevalent in Chinese gardens, which have been used as objects of meditation since ancient times.
Kambui Olujimi
NEW YORK Cue Art Foundation Kambui Olujimi did not invent the concept of “Solastalgia,” but his memorable exhibition launched it as a universal concern today. Coined by Australian philosopher Glenn Albrecht, the word refers to the psychic distress that results from displacement from one’s home whether by natural, social, or economic causes. In the U.S., gentrification, violence, and police brutality disproportionately affect African American and low-income neighborhoods— a fact that Olujimi underscored in this show with a series of memorials to his neighbor and mentor Catherine Arline and to fallen victims of violence on both sides of the police badge.
Mike Bidlo
NEW YORK Frances Naumann Fine Art Mike Bidlo is one of the earliest of the so-called “appropriation” artists in the U.S. Others, such as Sturtevant, Richard Prince, and Sherrie Levine, have received considerable attention, but Bidlo was there at the beginning. One might argue that he came from another place, from his own observations, not only in relation to Duchamp, but also in relation to other artists, ranging from Léger to Pollock. Indeed, Bidlo continues to maintain a focus on Duchamp, which may verge on obsession. I am not referring to “obsession” as a clinical condition, but as an extreme aesthetic focus.
