New York Dominique Levy and Galerie Perrotin Germaine Richier’s recent exhibition, shared by Dominique Levy and Galerie Perrotin, was the first show of the French sculptor’s work to be seen in the U.S. since her untimely death in 1959 at the age of 57.
“(in)Habitation”
Detroit Museum of Contemporary Art Detroit (MOCAD) Habitation has become a popular topic in Detroit. Credit the many pictures of abandoned buildings circulating as “ruin porn.” Credit, too, the late Mike Kelley’s Mobile Homestead, a full-size re-creation of his childhood Detroit home, permanently moored behind the Museum of Contemporary Art Detroit (MOCAD).
Chul Hyun Ahn
Easton, Maryland The Academy Art Museum Baltimore artist Chul Hyun Ahn builds meticulously tricked-out boxes. Wall-mounted or resting on the floor, they hold singular abstractions. Ahn manipulates light and mirrors, both one-way and conventional. He carefully positions mirrors, light-emitting diodes, and fluorescents, staging and framing complex, multi-mirror reflections in which light takes shape, darts around
Miller & Shellabarger
Chicago Museum of Contemporary Art Chicago As individual artists, Dutes Miller and Stan Shellabarger diverge wildly in terms of interests and means of execution. Miller’s candy-colored phallic sculptures and reworkings of homoerotic porn are orgiastic, playful, and irreverent, as was his recent installation, In the Garden, which situated his collages and paintings in a landscape
Patrick McDonough
Washington, DC Katzen Arts Center, American University As Patrick McDonough would be the first to say, he doesn’t like to repeat himself. “brightveridiansentinelevents,” his seventh solo project in Washington, DC, since completing his MFA at George Washington University in 2010, again demonstrated his prolific inventiveness.
Liz Larner
Los Angeles Regen Projects Liz Larner’s work has followed a varied and contradictory trajectory, and her most recent exhibition underscored the diversity of her nonlinear ideas and idiosyncratic approaches. A number of conceptually related but visually disjunctive objects were displayed: a dozen mid-size ceramic and epoxy pieces, two large paper and aluminum structures, a mini-exposition
St. Louis: Sculptural Gateway to the West
Imagine a proposed and completed public artwork recording the locations of 94 fire and flood disasters in Queensland, Australia; then imagine the unveiling of the work, as the artist reveals that the list doesn’t document natural disasters at all, but a series of 19th-century atrocities against indigenous peoples.
Baroque Paradoxes: A Conversation with Albert Paley
Albert Paley’s monumental forms offer a metaphorical resolution to a dilemma first posed by the Industrial Revolution, when it disempowered the human (and human labor) by elevating machines. Today, that revolution has, of course, gone further, morphing into an electronic juggernaut with even greater capacity to dehumanize by reducing us to mere dots in cyberspace.
Cal Lane: Veiled Histories in Steel
Guttersnipe (detail), 2012. Steel, 8 x 6 x 40 ft. Cal Lane was a recipient of the International Sculpture Center 2001 Outstanding Student Achievement in Contemporary Sculpture Awards Critics define Cal Lane as a female sculptor-welder, a woman using male-oriented, working-class technology to make art.
Ilya and Emilia Kabakov: Absurdities as Absurd as Reality
“They’re like spies everywhere, filming everything,” Ilya Kabakov grouses to his wife, Emilia. He’s jokingly dissing the ubiquitous film crew—not the KGB of years ago bugging his rooftop Moscow studio. She flashes a knowing smile, then hits her cell phone buttons; there’s a snag to fix in one of the biggest art events that Russia
