New York AC Institute Heide Hatry, a German artist and former antiquarian bookseller, recently assembled a collection of contemporary incarnations of the book—from ancient text to high-tech video—and installed her selections in a library-like setting at AC Institute in Chelsea.
Miroslaw Balka
New York Gladstone Gallery Miroslaw Balka’s 2 x (350 x 300 x 300), 36 x 36 x 29 / The Order of Things—a large-scale, welded sculpture of weathering steel—is an obverse rhomboid, split into two equal sections with darkened water pouring into each half.
Anna Sew Hoy
Venice, California Very Small Fires Gallery Anna Sew Hoy’s work has a lot to do: it refers to the politics of display and consumer culture, makes note of the DIY aspect of art-making, and comments on personal lifestyle.
New Ways of Seeing: A Conversation with Teresita Fernández
A graphite waterfall, a ring of silk fire, a bamboo “forest” of acrylic tubes, and a braille constellation set against a luminous night sky: Miami-born, Brooklyn-based Teresita Fernández explores natural phenomena while challenging perception with a new vocabulary of “seeing.”
Aleana Egan
Dublin Kerlin Gallery Aleana Egan’s richly evocative sculptures, which range from the representational to the abstract, recall various types of spaces. Many of her works are created out of welded steel, but she also incorporates more fragile materials such as cloth, string, plaster, and cardboard.
Miguel Harte
Buenos Aires Ruth Benzacar Gallery A beetle inside a glass bubble, the pink entrails of an unrecognizable being, a stone cave with insects embedded in its walls, and a number of organic, wall-mounted forms representing some kind of shelves but failing to support anything other than themselves created an atmosphere of mystery in Miguel Harte’s
Robert Fry
Cincinnati Alice F. and Harris K. Weston Art Gallery The adjective “wooden,” with its stolid overtones, has no place in discussions of Robert Fry’s wood sculptures. The works recently on view in “Redux” are lively excursions into an imaginary world where nothing actually moves, but much of it looks as though it might, just when
Hiroyuki Okumura
New York Howard Scott Gallery At first glance, one might mistake Hiroyuki Okumura’s stone forms for a return to Surrealist sculpture, with comparisons ranging from Hans Arp to David Hare. But after taking the time to examine his machine- and hand-worked protrusions and indentations, one realizes that they have little in common with Surrealism or,
Matt Wedel
Venice, California L.A. Louver The works featured in Matt Wedel’s “Sheep’s Head” exhibition can be perceived in one of two ways—somewhat saccharine and silly or muscular and profound. The balance that he achieves between these two poles makes his sculptures challenging, significant, and moving.
Ann Hamilton
New York Park Avenue Armory Ann Hamilton, who trained as a weaver, understands the importance of repeating the same gesture or movement over and over again until one obtains an accumulation of actions, which may merely seem, or may actually be, significant.
