TORONTO Gardiner Museum The work of Greg Payce may be framed within and by the medium of ceramics, but unlike, say, the work of a ceramic sculptor like Peter Voulkos, Payce’s aesthetic has less to do with a focus on the merits of the medium itself and virtually everything to do with exploring the inversion of the figure-ground relationship.
Gary Webb
LINCOLN, MASSACHUSETTS deCordova Sculpture Park and Museum Slick, colorful, playful, and without a cohesive aesthetic, Gary Webb’s work has yet to settle on a recognizable style—he’s having too much fun. A carnival atmosphere pervaded his recent show, “Gary Webb: Mr. Jeans,” with nursery-school hues and shapes bending, arching, and trying to fly off in all directions.
Carlito Carvalhosa
NEW YORK Sonnabend Gallery Carlito Carvalhosa was born in São Paulo, studied at the University of São Paulo’s Faculty of Architecture and Urbanism, and lives and works in Rio de Janeiro. His unorthodox and visionary fabrications suggest an acute knowledge of architecture and spatial interaction, while his handling of light and space is concurrently an act of camouflage and disclosure.
Place as a Condition of Time: A Conversation with Winifred Lutz
Winifred Lutz’s work crosses the boundaries of seemingly divergent disciplines and encompasses many angles of thinking. In this interview, we knew that we could only touch on one aspect of her work, so we chose to look through the lens of the garden since we share a deep interest in the dynamic processes of the
Kevin Francis Gray
NEW YORK Haunch of Venison The pursuit of figurative sculpture today occurs not without a sense of déjà vu; like figurative painting, representational sculpture is hard put to break out of tradition to reach an exploratory, even experimental, sense of the medium. But Kevin Francis Gray’s recent work shows us that a questioning, innovative sensibility can still expand the range of figurative art.
David Henderson’s Soaring Space
David Henderson’s A History of Aviation-Part 2 circumvents the dominant movements of postwar art. The soaring white fiberglass and Dacron installation, which filled an entire gallery, is neither conceptual nor politically driven. It does not reference the gestural painting or sculpture of Abstract Expressionism.
Chiharu Shiota
NEW YORK Haunch of Venison Chiharu Shiota’s sculptures and installations use basic materials—glass windows, black thread, found objects such as a violin or a child’s dress—in highly innovative ways. Born in Japan, now based in Berlin, Shiota makes use of an international language of contemporary art, one which serves to poetically enclose information about objects whose history can be felt if not touched.
Artistic and Social Renewal: A Conversation with Piero Gilardi
Piero Gilardi began his artistic activity in the 1960s and participated in the birth of Arte Povera. After achieving fame in the 1970s, he turned away from the art world and began investigating the phenomenon of collective and spontaneous creativity in various social contexts.
Richard Van Buren
NEW YORK Gary Snyder Gallery Two mid-size rooms barely contained the luminous effect generated by Richard Van Buren’s new wall and floor sculptures. Spaciously displayed, the sinuous, winding forms all delighted the eye like brightly colored jewels and enticed with highly ornate surfaces coated in an array of delicate hues studded with shells.
John Chamberlain
NEW YORK Solomon R. Guggenheim Museum Freestanding sculptures and wall pieces by John Chamberlain filled the Guggenheim Museum’s four floors last spring, offering viewers a posthumous survey of the artist’s crumpled steel and crushed metal sculptures from the past 40 years. His unique approach to sculpture began in 1957, when he took material from an antique car belonging to Larry Rivers and drove over it, as he told Julie Sylvester in a 1991 interview published in a Pace Gallery catalogue.
