The discovery of open-air contemporary art in a region as magnificent as Spain’s Costa de la Luz is indeed a unique experience. For five years, the Fondación Montenmedio Arte Contemporáneo (NMAC) has opened its doors to the general public, offering a chance to view in-situ works from its collection all year round.
Modern Sublime: A Conversation with Anish Kapoor
Anish Kapoor’s extraordinary projects have captured the imagination of the world. The sculptures that brought him to international attention in the 1980s were geometric and biomorphic configurations, covered with intensely colored powdered pigment. Since then he has developed a distinctive body of work using a wide range of materials, from natural substances to products of
Jonathon Keats
San Francisco The press release for Jonathon Keats’s Speculations…see the full review in June’s magazine.
Robert Bielat: Absorbing Sculpture
In a contemporary art world seemingly devoted to the dictates of the market and the novelty that feeds it, the slow process of aesthetic maturation too often goes under-appreciated. Now pushing 60, Detroit sculptor Robert Bielat makes the case for recognizing the importance of mastery gained through material practice in the development of an artist’s
Steve O’Hearn
Pittsburgh Steve O’Hearn’s six-foot blast furnace David…see the full review in May’s magazine.
Shaking Up History and Nature: A Conversation with Bill Woodrow
Born near Henley, Oxfordshire, in 1948, Bill Woodrow studied at Winchester College of Art, St. Martin’s School of Art, and Chelsea School of Art. He had his first solo exhibition at the Whitechapel Art Gallery in 1972.
Noah Savett
Johnstown, New York Noah Savett has been working in steel…see the full review in May’s magazine.
Katrina Moorhead
Houston Katrina Moorhead’s hybridized objects are as…see the full review in May’s magazine.
Rick Parsons: The Salient Point
Rick Parsons’s sparely poetic sculptures combine the elements of earth with the simple alchemy of evaporation and oxidized steel. This confluence yields poignant statements about corporeal and environmental conditions. Their infused surfaces and surroundings imply memory altered and obscured by time; however, encrypted below the salt-encrusted forms, referencing chromosomes or crucibles, is a quiet outrage
