Whether full-blown installations or succinct sculptures, Margaret Meehan’s works embrace a unique sense of narrative. In a retroactive turn of media, applying filmic concerns to the sculptural, they seem like stills taken from longer stories. Meehan’s installation Innocence and Otherness (featured in “Pretty Baby,” a 2007 Modern Art Museum of Fort Worth exhibition examining the

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Entering into Liam Gillick’s “Three perspectives and a short scenario” was like diving into a heavily footnoted seminar presentation. The single large exhibition space was dark, divided into sections and hallways by 10-foot-high slatted screens and dark gray industrial carpeting.

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During the summer of 2009, four large-scale bronze sculptures by Robert Melee bubbled to life in New York’s City Hall Park, their rough accretions materialized into hulking masses. Oozing rivulets of multi-colored enamel paint like queasy marbleizing, these abstract forms appeared extravagantly slimed or covered with flowing wounds.

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Lesley Dill’s sculptures made an impression on me some years ago at Graphic Studio in Tampa, particularly a tea-stained, paper dress that popped outward to become three-dimensional. A large traveling exhibition of her work—recently shown at the Saint Petersburg Museum of Fine Arts and on view at the Columbia Museum of Art in South Carolina

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Thomas Houseago’s expressionist sculptures, part of a renewed interest in figuration, are popping up everywhere, in one-person and group exhibitions in Brussels, Amsterdam, Milan, London, Glasgow, Paris, Berlin, Los Angeles, Miami, New York, and Marfa. This fall and winter, both the Rennie Collection in Vancouver and Modern Art Oxford are hosting shows of his idiosyncratically

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