Known for her labor-intensive installations of everyday accumulations, Jean Shin broke new ground in Everyday Monuments, a commission begun in 2007 at the invitation of Joanna Marsh, curator of contemporary art at the Smithsonian American Art Museum in Washington, DC.
London-based Tariq Alvi is quick to admit his penchant for pop culture. He recycles riotous effigies from advertisements, pornography, and consumer magazines in his installations, often reconfiguring them into collages. Through his paper-based art, Alvi meticulously digests generic and overlooked icons of our disposable culture, visually calling for a re-appraisal of material worth.
Icelandic artist Katrín Sigurdardóttir uses scale to explore notions of land, space, and memory as well as the body’s place in a world that seems to be shrinking. Her popular High Plane V installation at P.S.1
Kristen Morgin makes shells of things. She embraces breakdown and wear and tear, traces of which constitute evidence of past longings and actions. Her subject is manmade objects produced in a distant or not-so-distant past: cellos of unspecified date, a piano that belonged to Ludwig van Beethoven, carousel horses with whiffs of the Belle Époque,
A light bulb, a bag of air, a bucket, colored markers—these are some of the commonplace items that Ceal Floyer makes us rethink as we contemplate her understated, multimedia installations. Curiously expansive and lingering in their effect, these conceptual, perceptual time-release capsules are far more ponderous to describe verbally than to “get” visually; they inspire
“You don’t find art, art finds you,” explains Leonardo Drew, who began creating things at an early age. At age 48, Drew is the subject of a traveling survey that presents 26 of his most significant sculptures and drawings to date.
William Tucker is a sculptor whose work and conduct embody the conscience of his medium. There is a pervasive sense, in all he does—in his widely influential writings about sculpture as well as in the work itself—of agitated industry, whether he is striving to define, to eliminate, to amass, or to complicate.
In 1960, Phillip King returned to London from a trip to Greece, cleared the entire contents of his studio, repainted it from top to bottom, and started afresh. The work that he made over the next three years helped to revolutionize British sculpture and announced him as one of the most important and radical sculptors