Toronto I first encountered Vanessa Paschakarnis’s work when…see the full review in July/August’s magazine.
The Sculpture is Never What You See: A Conversation with Nicola Bolla
Nicola Bolla’s sculptures have many peculiarities, foremost among them, his choice of materials and subjects. He uses Swarovski crystals, playing cards, and glass to create macabre relics such as skulls, tibias, and skeletons; symbolic objects such as ropes, axes, and chains; and animals, including domestic cats, panthers, parrots, ostriches, and unicorns.
“Second Lives”
New York “Second Lives: Remixing the Ordinary” was the…see the full review in July/August’s magazine.
Pipe Dreams: A Conversation with Fergus Martin
Dreamscapes are often the subject of artworks, and Fergus Martin’s Pipe Dreams 2 takes dreams to a fundamentally visual level with a “floating raft of color in space.” But how was this visual solution achieved, and what decisions did Martin make when creating the work?
Louise Bourgeois
New York Now in her late 90s, Louise Bourgeois continues to…see the full review in July/August’s magazine.
“Moore in America”
New York Large outdoor Henry Moore exhibitions are…see the full review in July/August’s magazine.
Northern Inspirations: A Conversation with Steve Dilworth
The site where an artist lives often provides inspirational material for his or her work, and such is certainly the case for Steve Dilworth. He has spent the past 25 years on the North Atlantic coast of the Isle of Harris in the Outer Hebrides in northwest Scotland, roughly equidistant from London and Iceland.
Performing Sculpture: A Conversation with Elizabeth King
Elizabeth King combines meticulously built figurative sculptures with stop-frame film animation in works that blur the perceptual boundary between actual and virtual space. Intimate in scale—she speaks of a theater for an audience of one—and distinguished by a level of craft that solicits close looking, the work reflects her interest in early clockwork automata, the
The Emblematic World of Joan Danziger
Joan Danziger’s uncanny sculptures do not fit into today’s fashionable art scene. Conjuring mythic, almost romantic worlds, they are the exception that proves the rule of the spiritual crisis that Donald Kuspit sees in contemporary art.1 Robert Rosenblum’s argument in Modern Painting and the Northern Romantic Tradition (1975) also comes to mind.2 In his alternative
