New Delhi Like many artists in contemporary India, Shambhavi Singh has…see the full review in April’s magazine.
Benjamin Jurgensen
Washington, DC “Don’t Ready To Die Anymore,” the grammatically strained…see the full review in March’s magazine.
Yvette Kaiser-Smith
Chicago Yvette Kaiser-Smith’s walI sculptures stretched in…see the full review in March’s magazine.
Jim Campbell and Mark Scheeff
Pittsburgh Except for certain advanced robotics, technology seems…see the full review in March’s magazine.
The Labyrinth in the Tower: A Conversation with Diana Al-Hadid
Syrian-born Diana Al-Hadid lives and works in Brooklyn, New York. Her first New York solo exhibition, “Reverse Collider,” takes its title from sources that range from Pieter Brueghel the Elder’s historical vision of The Tower of Babel (1563) to the futuristic-looking Large Hadron Collider or particle accelerator at CERN, in Geneva, which seeks to find “the god
Brave New Art: The Sculpture of Anselm Reyle
Anselm Reyle has enjoyed one of the swiftest art scene careers in recent years. His works are in famous private collections, appear in the best galleries, achieve record prices at auctions, and feature in important exhibitions like the critically acclaimed “Unmonumental” at the New Museum in New York.
XIII Biennale Internazionale
Carrara “Nient’altro che scultura/Nothing but Sculpture,”…see the full review in March’s magazine.
“Life on Mars”
Pittsburgh Last year, for the first time since its inception…see the full review in March’s magazine.
More Famous than John Dillinger: A Conversation with Robert Indiana
Robert Indiana didn’t invent love, but he did make the word synonymous with the pot-smoking, love-making, anti-war counterculture of the ’60s, which morphed into the museum-going, art-buying public of the ’80s. Today, Indiana’s LOVE sculpture—in English, Hebrew, and other languages, in varied scales, and in finishes from burnished Cor-ten steel to mirrored, polished stainless steel to bright
Rock Star On Tour: Damien Hirst’s Skull at the Rijksmuseum
For just over a month (November 1–December 15, 2008), Amsterdam’s Rijksmuseum acquired a new art chapel, an almost pitch-black, 30-square-meter room housing Damien Hirst’s spotlighted skull, For the Love of God (2007). I entered the space after taking part in what was almost a procession.
