Los Angeles L.A. Louver Gallery “Disgust” is a specific and powerful term; Rina Banerjee uses it to describe bodily response and emotion at the extreme of self-control. She perceives disgust as the trigger for a transformative moment that alters perception.
Of Empathy, Appropriation, and Time: Gillian Jagger
How do you solve a problem like Gillian Jagger’s label-defying work? It does not fit into any familiar art-market niche and confounds many of the art establishment’s trend-conscious poobahs. It is not postmodern-ironic, nor does she send her designs out to nameless fabricators to be manufactured—bigger, shinier, more expensive—and then sold to trophy-seeking Russian oligarchs
Zilia Sánchez: Minimalist Mulata
Zilia Sánchez defies categorical definition. Her high-relief, shaped canvases hover between painting and sculpture. A breakout art world success at the age of 87, she is a Cuban national, who has lived off the island since the revolution, and she creates apolitical work.
Elements of Measure, Classically Inclined: Alun Leach-Jones
Though Australian artist Alun Leach-Jones is known primarily for his paintings, he began to make sculptures more than 20 years ago in 1992. Working in his studio—a converted factory building in North Sydney, near Sydney Harbor—he made three-dimensional works that, at the time, he did not consider showing.
Big, Bold, and Riotously Colorful: Louise Paramor
Though Louise Paramor’s work inspires an initial reaction of pure visual delight, viewers are advised to look twice and think twice, for things are seldom as they appear. Paramor plays with contradictions and ambiguities, forcing us to ponder, reconsider, and question.
Tony Feher
Bronx, New York Bronx Museum of the Arts Tony Feher likes to keep it simple. As a touring retrospective, most recently at the Bronx Museum of the Arts, amply demonstrated, his unpretentious arrangements of the cast-off detritus of daily life—plastic bags and bottles, paper, pennies, wire, coat hangers, Styrofoam, string, marbles, jar lids—speak poetically of
Exploding Restraints: A Conversation with E.V. Day
After several years of working for private art dealers and artists in their studios, and generally pounding the pavement as young artists do, E.V. Day was content exhibiting in nonprofit venues when the thunderbolt struck. A curator who had shown her work while she was still in grad school at Yale called out of the
Graham Gingles
Belfast The MAC (Metropolitan Arts Centre) Graham Gingles, Ireland’s most accomplished sculptor, has been building boxes since the beginning of the ’70s, many of them somber meditations on the Troubles realized in an elliptical, covert, and highly personal manner.
Recovering Lost Forms: A Conversation with Penny Harris
Speaking with Australian sculptor Penny Harris about her current body of work opens an exciting conversation about archaeology, trans-oceanic travel, and interwoven stories. Harris is looking for new challenges, and so, she has been accumulating facts, ideas, and techniques.
Nothing Lasts Forever (Not Even Art): Ian McMahon
From mobile tractor-trailers to former churches, Ian McMahon’s site-specific work transforms alternative spaces. His sculptures are as much about the appreciation of form as they are about erasure. In other words, enjoy them while they last.
