In a lush Japanese forest, adjacent to the Yokohama Zoo, Pat Hoffie’s Harvester for Disappearing Dreams of Wildness invited participants to trap and share the essence of captive animals’ dreams. Gathered in remote funnels placed throughout the forest, these dreams, caught by viewers standing on a mechanism powered by bodyweight, connected animals and humans through
Richard Hunt
CHICAGO McCormick Gallery Richard Hunt’s recent exhibition of rarely seen early sculptures and works on paper was a remarkable mini-retrospective of pieces never exhibited outside his studio in Benton Harbor (Michigan) since they were created in the mid-1950s.
Charles Ray
LOS ANGELES Matthew Marks Gallery Figurative sculpture has been a mainstay of Charles Ray’s work since his early days as an artist, when he pinned his elevated body against the wall with a board (Plank Piece I and II, 1973) and arranged himself naked on metal shelves, merging the hard forms and surfaces of Minimalism with their antithesis, flesh.
Joan Miró
WEST BRETTON, U.K. Yorkshire Sculpture Park Although Joan Miró was an early pioneer of construction, most of his three-dimensional work was concentrated within the latter part of his life. This exhibition, a collaboration between Yorkshire Sculpture Park, the artist’s family, and foundations, offered a journey through Miró’s fervent imagination, taking viewers from smooth dark bronzes to audacious, brilliantly colored assemblages of found objects, to a throng of theatrical personages set high on plinths.
Public Sculpture in an Age of Diminishing Resources: A Conversation with Cliff Garten
To enter Cliff Garten’s Venice studio is to encounter a visual dialectic of public and private that speaks to our times. On one wall is Being and Home, an impressive suite of 10 independent sculptures depicting living creatures, all meticulously rendered in different materials; on the other wall are images of the artist’s large-scale, collaborative
Dangerous Structures: A Conversation with Alice Aycock
With an encyclopedic quest for knowledge that seeks no iconic style, Alice Aycock mines the universe for all that is primeval, intuitive, technological, and irrational. Spinning millennial layers into whorls of complex structures, she asks: What’s life all about?
Making the Bridge Breathe: A Conversation with Douglas Hollis
Douglas Hollis’s three San Francisco studio spaces reflect the dimensions of his increasingly complex, collaborative public art. A square room dominated by computer monitors could be an architect’s office. The small downstairs shop is neatly gridded with what used to be familiar hand tools.
Crystal Schenk
MCMINNVILLE, OREGON Linfield Gallery Crystal Schenk’s installation Artifacts of Memory started off as a vague image in her mind connected to the loss and longing that she experienced after her mother’s suicide. She captured these qualities by creating a circular field of magnets, one set hung from the ceiling and the other tethered to the floor using nearly invisible wire.
Jared Steffensen
EPHRAIM, UTAH Central Utah Art Center Jared Steffensen’s solo exhibition, “Mom’s always afraid I am going to hurt myself…I usually do,” was at once blithe and sophisticated, sparking an unexpected (and even overlapping) dialogue between skateboarding and formalism.
