PORTLAND, MAINE Institute of Contemporary Art at Maine College of Art & Design One particular resonance of carving, which is especially evident in Nash’s project, is that it parallels geologic processes like erosion, by wind and water, on both vast and near-instant timescales.
Sculpture Eats Iron: A Conversation with Catherine Lee
Catherine Lee has explored abstraction in painting and sculpture, language and writing. Emphasizing materiality and process through idiosyncratic combinations of painting, installation, and sculpture, her works gather in large, familial groups placed on floors or walls.
Bachrun LoMele
EUREKA, CALIFORNIA Morris Graves Museum of Art Burn Pile might function like a compass, redirecting our perception of truth to a sector located elsewhere, where logic does not apply.
Jasleen Kaur
GLASGOW Tramway As the exhibition title “Alter Altar” suggests, this is a place of fluidity, of ideas and events, of religious ritual alongside the unpredictability of everyday life.
Spiritual Labyrinth: A Conversation with Herman van Bergen
Recipient of the 2022 Innovator Award Herman van Bergen’s environmentally friendly Cathedral of Thorns, hovering between sculpture and architecture, consists of built-up acacia branches pressed into a mold and glued together to form airy building blocks.
From the Imagined World: A Conversation with Muhannad Shono
From ink drawings and photomontages born of inventive frustration to multidisciplinary installations that bring his private stories into the lived world—most dramatically in The Teaching Tree (Saudi pavilion, Venice Biennale, 2022)—he has devoted himself to reclaiming the line and the word, transforming them from tools of censorship and authority into expressions of free will.
William Edmondson and Brendan Fernandes
PHILADELPHIA Barnes Foundation Brendan Fernandes’s Returning to Before, commissioned by the Barnes Foundation in response to the exhibition “William Edmondson: A Monumental Vision,” proposes that gesture can reach back through time and connect us with the past.
Pipilotti Rist
HOUSTON Museum of Fine Arts Unlike much video art, which (for me, anyway) remains prohibitively esoteric, Rist’s work keeps accruing mainstream accessibility; in 2016, Beyoncé famously channeled the whimsical, eight-minute Ever is Over All (1997) in her music video Hold Up.
