Edward Kienholz once declared, “I can see the results of ideas in what is thrown away by a culture.” A compulsive bricoleur, he found most of his materials in thrift shops, dumps, and garbage cans and used them in ways that retained their original identity.
Robert Hudson: Sculpture Builder
In a studio piled with industrial scrap, busted-up cast iron plumbing fixtures, fragments of architectural decoration, and kitsch, Robert Hudson builds semi-abstract metal sculptures. He begins without drawings or models, makes a base, welds a support on top of it, and then adds elements by trial and error.
Competition in Common: Art Around New York
The gallery scene in New York, like the large metropolitan entity itself, consists of many diverse neighborhoods, each with its own constituents and concerns. Competitive but not cohesive, the New York art world remains a relatively small, even hermetic community with a common goal of showing and selling art of every type.
The Meat of Sculpture: Paul Thek
One can know quite a bit about American art after 1960 while knowing little or nothing about the work of Paul Thek. Indeed, one can visit many museums with important holdings in modern and contemporary art without chancing upon Thek’s work, and one can digest quite a body of literature on American art before stumbling
Little Seeds of Ideas: A Conversation with Bill Woodrow
As a member of the much-celebrated New British Sculpture group in the 1980s, Bill Woodrow captivated the art world with his cut-out ensembles of morphed objects. Since then, he has continually reinvented the possibilities of sculpture, breaking with his original approach to create works made from welded steel and cast bronze, materials that other sculptors
Miami Art Fairs 2013
Miami With so many fairs and biennials all over the world, the inevitable question arises: “Why bother?” But the 2013 Miami spectacle proved that it’s still possible to have meaningful encounters with art in a restricted space and time frame.
“The Human Factor”
London The Hayward Gallery The problem with group shows is that the curator is powerfully present, and when a show attempts a survey or argument, it is hard not to be distracted by potential omissions or possible flaws.
Elizabeth Presa
Lorne, Australia 2014 Lorne Sculpture Biennale In Elizabeth Presa’s installations, active beehives function as small architectural objects that address dwelling-in and shelter. Her deeply process-oriented practice equates materials with political and spiritual value to re-imbue plaster, glass, wax, fabric, flour, paper, thread, bees, and snails with a significance either forgotten or overlooked in the mad
Anna Maria Maiolino
New York Hauser & Wirth Anna Maria Maiolino’s work stands out for its elegant aesthetic and gutsy use of homespun processes and materials. Born in Calabria, Italy, Maiolino grew up in Venezuela and Brazil. She and her husband Rubens Gerchman were among the original members of the New Objectivism Brazil movement (Nova Objetividade Brasileira), which
Playing with Perception: A Conversation with Daniel Arsham
Draped Figure Arms Out, 2013. Fiberglass and paint, 185 x 165 x 60 cm. Daniel Arsham’s work is full of the unexpected: solid surfaces appear to bend and buckle, high-tech equipment looks like it’s existed for thousands of years, and people seem to walk through walls.
