Carol Bove’s first installations, beginning around 2003, were hailed as resonant exhumations of the culture of the 1960s, filled with objects evocative of that era—books that helped define the zeitgeist, fragile drawings of pop icons like Twiggy and Mia Farrow, and artifacts that showed a preference for cottage-industry crafts over mass-produced goods.
Cordy Ryman
Tacoma New York-based Cordy Ryman included 19 painted…see the full review in April’s magazine.
Ernest Daetwyler: Bubbles and Bombs
For one busy week in August 2008, the Swiss/Canadian artist Ernest Daetwyler collected used furniture from all over Darmstadt, a German city famous for its Art Deco Buildings and the impressive Beuys Block. Darmstadt is also home to Ute Ritschel, a very active curator who organizes many community projects, among them “Vogelfrei,” international exhibitions in
David Altmejd
New York Entering David Altmejd’s exhibition of ”giants” is…see the full review in April’s magazine.
Please Give Norbert Weiner Some Naughty Schnauzers (And Other Curious Developments in the Work of Janet Zweig)
I’ll wager that no one reading this essay knows (or perhaps wants to know) the author of the ridiculous sentence in its title. Since the publication of Roland Barthes’s “Death of the Author” 40 years ago, many readers have acquired a seasoned skepticism about the authority and dependability of the authorial voice.
Christof Migone
Toronto A group of white cubes embedded in the…see the full review in April’s magazine.
Creighton Michael and the Origins of Marking
Throughout the history of art—no matter what period of time or in what part of the world—artists have placed considerable emphasis on their ability to draw. Drawing functions as a tool, a primary attribute for making art.
Richard Sudden
Atlanta Daughter of earth and sky, Mnemosyne assured…see the full review in April’s magazine.
Lyndal Osborne
Oshawa, Ontario LyndaI Osborne’s touring exhibition “Ornamenta” features…see the full review in April’s magazine.
Chicago: Sculpture Town
Carl Sandburg’s “city of the big shoulders” has established itself as a city of big art, and it maintains a passionate, occasionally contentious, and fondly attentive relationship with its sculpture. In 1967, Chicago dedicated one of the first—if not the first—contemporary, monumental, non-memorial public sculptures in the United States in its city hall plaza, a
