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
Linda Cunningham
New York Bronx Museum of Art Few places conjure images of urban blight as immediately as the South Bronx. And yet, walking through this working-class neighborhood, one notices changes as the community reinvents itself—integrating its past into a vision for the future, without losing its identity.
Greg Lindquist
New York Elizabeth Harris Gallery In “Nonpasts”, Brooklyn-based Greg Lindquist offered a poetic account of a troubling subject—the gentrification of run-down industrial areas. He laments the soon-to-be-gone junk yards of Brooklyn’s former industrial heartland and tries to capture their decaying presence, but by focusing on the aesthetic charm of these environs, he leaves out the
Franz Xaver Messerschmidt
New York Neue Galerie Franz Xaver Messerschmidt’s last body of work, known as the Kopfstücke (“headpieces” or “character heads”), is awe-inspiring. Created in the latter half of the 18th century, these contemporary-seeming sculptures manifest as a strikingly complex and uncompromising exploration of the human soul.
