Drew recently unveiled City in the Grass, a monumental commission for Madison Square Park in New York City, which remains on view through December 15, 2019. An eponymously titled solo show at his New York gallery, Galerie Lelong & Co., is on view through August 2.
Shinji Turner-Yamamoto’s sculptural and photographic installations resonate with a sense of stillness, presence, and spirituality. Visiting locations with personal meaning—historic and sacred sites from Cincinnati to Jaipur and remote wilderness outposts in Ireland, Switzerland, and the Pacific Northwest—he intuitively chooses his materials.
ISLE OF BUTE, SCOTLAND Mount Stuart An Inn For Phantoms Of The Outside And In borrows its title from a line in Gaston Bachelard’s The Poetics of Reverie (1960): “Sleep opens within us an inn for phantoms.” Boyce was also inspired by hearing about a long-gone tennis court elsewhere on the grounds.
New York-based Christina Kruse’s newest exhibition, “Base and Balance,” is on view at Helwaser Gallery through Thursday, July 25. The artist discusses works from the show and her evolving sculptural practice.
DETROIT Former State Savings Bank Doug Aitken’s Mirage—a full-sized model of a ranch-style house in which every surface is mirrored—originally occupied a site in the desert, adjacent to Palm Springs, California. For Mirage Detroit, he relocated the entire structure to the interior of a long-vacant Beaux-Arts bank building (which dates from 1900 and is attributed to architects McKim, Mead, and White) in Detroit’s Central Business District.
PARIS Monnaie de Paris Anti-heroic, Schütte’s art mixes the mythic with the utilitarian, turning child’s play into a sculptor’s experimentation with materials. An unclassifiable artist, he’s still following the advice that Gerhard Richter gave him when he was a student: find your own way by creating a repertoire, not a style.
SINGAPORE STPI Creative Workshop & Gallery Aaron Curry’s ebullient sculptures, recently surveyed in “Fragments from a Collective Unity,” are stretched, swollen, sometimes barbed, and slightly off-kilter. A plethora of organic-looking things filled an entire wall, some wriggling from side to side, some becoming jack-in-the-boxes and popping up from an opening here or there, and yet others more closely approximating bones and remains than life itself.
LONDON Royal Academy of Arts As “cul-de-sac” demonstrates, Barlow’s skill in courting accident and chance remains unsurpassed. While her materials—plaster, cement, steel, wire mesh, plywood, timber, and fabric—are rooted in the sculptural canon, her methods of deployment are freed from any past constraints.