Washington, DC, and Arlington, Virginia Transformer Gallery andArlington Arts Center Two recent installations in the Washington area, Suspended Landscape at the Transformer Gallery and Evacuation Route with Rubies at the Arlington Arts Center, showcased Mia Feuer’s bold, chaotic work.
Elke Soloman
New York ALR. Gallery A Tavola is a command and a call to arms, summoning us to the table and the concomitant onslaught of memory—personal, emotional, social, communal, graphic, and visceral— prompted by food. As it calls us to the table, it also warns us of the abundance awaiting to seduce us to excess, Fittingly,
Forum: So You Want To Go To Art School
Deciding to go to art school seems like an answer, but it is only the start of a series of questions. Do art schools care (and, if so, how much) about my grade point average? Should I go to an independent art school or to a liberal arts college or university that offers a studio
Ved Prakash Gupta: Telling It Like It Is
Ved Prakash Gupta is not afraid to speak his mind. This young, Baroda-based Indian artist creates blatantly satirical works intended to mock, provoke, and parody. For Gupta, art is a way of commenting on a contemporary India struggling with corruption and greed, caught in the whirlpool of rapid globalization.
Finding Resonant Details in a Big Picture: A Conversation with Ellen Driscoll
A professor of sculpture at the Rhode Island School of Design, Ellen Driscoll is known for complex installations such as The Loophole of Retreat (Whitney Museum at Philip Morris, 1991) and Passionate Attitudes (Thread-waxing Space, 1995), as well as a variety of public art projects including As Above, So Below, a suite of mosaic and glass works for Grand Central
Jeremy Dean
New York {CTS} creative thriftshop Jeremy Dean’s CEO Stagecoach (2010), which presents a satirical proposition about the future of the automobile and the planet, is part of “Back to the Futurama,” a project that focuses on the rise and fall of the automobile industry as a symbol of the vulnerability wrought by turbo-capitalism.
Ginger Wolfe-Suarez
San Francisco Silverman Gallery It is tempting to read Ginger Wolfe-Suarez’s Theory of a family as a type of formal rebus. Inside the space of the installation, two large black volumes balanced precariously on a ledge above the entrance wall, set directly over twin plywood boxes emoting a soft pink light.
Gyun Hur
Atlanta Gyun Hur Get This! Gallery Gyun Hur’s installation, Repose, constructed a delicate visual space engaging the fragility of memory, rupture of loss, and violence that can accompany mourning. Across the floor, and on a transparent acrylic shelf lining two walls of the space, Hur carefully arranged colorful stripes of finely shredded silk cemetery flowers
Leading Into the Unknown: A Conversation with Bob Trotman
Bob Trotman lives in the foothills of the North Carolina mountains, surrounded by his materials—60 acres of rolling woods from which he occasionally extracts a dead poplar and restores it to life in comic-tragic human images.
Corban Walker: Perceptual Encounters
It could be argued that Corban Walker, who will represent Ireland at the 54th Venice Biennale this year, stands as one of Minimalism’s most talented heirs. Take, for example, his “Grid Stacks” series (2007), glass works that echo Robert Smithson’s Glass Stratum (1967).
