To say that Al Farrow’s work achieves strong visual effect grossly understates the success of his recent “Twentieth Century Reliquaries” series. Consider the most important piece—The Spine and Tooth of Santo Guerro, an enormous sculpture that at first glance appears to replicate the form of a Gothic cathedral.
Michelangelo Pistoletto: Against Imperatives
Michelangelo Pistoletto’s work has undergone a number of profound transformations over the last 55 years, none more dramatic than those that occurred during a few incendiary years in the mid-1960s. Works from this period provide the core of “Michelangelo Pistoletto: From One to Many, 1956–1974,” which debuted at the Philadelphia Museum of Art and is
Los Angeles: Great Expectations in Sculpture
Los Angeles is a city for first impressions. It’s a shallow mantra, but one that serves L.A. well, allowing it to be bombastic and superficial without shame. Subtlety may not be its strongest quality, but obviousness suits this city built on glaring sunshine, sprawling wealth, and artificially just fine.
Celebrating Aberrations: A Conversation with Edgar Arceneaux
Edgar Arceneaux’s concerns link studio practice and work in public space. He uses the persona of the artist, an identity that transcends race or agency, as “a transfigurative subject” within his work. His desire to monitor how his work is received becomes complicit with his idea of what it means to present himself as an
LAND of Opportunity
It all began by thinking outside of the institutional box. In January 2009, LAND—the Los Angeles Nomadic Division—premiered its inaugural set of curated artist activities at four sites across L.A. and emerged as the city’s most ambitions public art initiative in recent history.
Federico Díaz: Post-Human Sculpture
It looks like a giant black tsunami crashing headlong into the wall of the building. Does this mean that the creator of said wave, Federico Díaz, has something against the Massachusetts Museum of Contemporary Art? His response to this question, like many others, isn’t a simple “yes” or “no.”
Phyllida Barlow
London Serpentine Gallery Phyllida Barlow has felt the need to assemble and experiment since she was a child. As one of Charles Darwin’s 16 great-great grandchildren, perhaps she was genetically predisposed to such a trait, but even though Barlow grew up in the aura of her famous relative, her mother always emphasized the need for
Alan Binstock
Washington, DC Katzen Arts Center, American University Alan Binstock’s contemplative Zen garden of large-scale glass and steel sculptures in the courtyard of the Katzen Center translated abstract astrological and spiritual concepts into colorful visual form. Like much of Binstock’s sculpture, this new series draws on his training as yogi, architect, and facility planner for NASA
B. Amore
Boston Boston Sculptors Gallery B. Amore’s recent work marks a departure, using new materials to achieve new insights. At the same time, it relates strongly to her previous sculpture, connecting with and recycling the past. In both small and monumental works, Amore always capture the human voice, a trace of use or habitation.
Gloria Kisch
East Hampton, New York Guild Hall, The Roy and Frieda Furman Sculpture Garden Gloria Kisch’s recent outdoor exhibition in tony East Hampton revisited familiar themes of stamens and pistils, organic matter fashioned in stainless steel. But the works in the show also advanced her investigations by adding touches of metallic color such as bronze to
