La artista plástica rosarina Carolina Antoniadis produce una obra de un impacto visual destacado. Los variados soportes que utiliza para construir espacios lúdicos, ensoñadores, saturados de información cual estética barroca, siempre llevan detrás un eje conceptual vinculado a imágenes de su infancia y su legado familiar como discurso de género.
Thinking the Sculpture Garden: Art, Plant, Landscape offers a radical rethink of how we might interact harmoniously with plants and art in an age of globalization, climate change, and urbanization.
“Still Life with Table consists of pieces, without a hierarchy. It’s not just an arrangement of objects; the thing that it sits on is also part of the sculpture. I have all these forms and parts—things that I make, things that I’ve collected and altered—and they sit around, sometimes for years.”
BUFFALO, NEW YORK Hallwalls Contemporary Arts Center A revised reality, a rebirth, a second act—whatever you call the new existence that Katie Bell creates for the multitude of discarded building materials that she uses in her site-specific installations, one thing is certain: these materials, manufactured for a specific purpose, have broken free from their original identities and uses, taking on entirely new reasons for being.
For more than two decades, Pablo Lehmann, who teaches at Argentina’s National University of the Arts in Buenos Aires, has produced obsessively complicated works in which patience, attention to detail, and technical knowledge come together in dense overlays that defy distinctions between text and image.
NEW YORK MoMA “Surrounds: 11 Installations,” part of MoMA’s reopening schedule last year, featured a selection of works from the collection that renegotiate and reimagine architectonic boundaries of display. Visitors ascending to the sixth floor were greeted by Sheila Hicks’s Pillar of Inquiry/Supple Column (2013–14), an acrylic fiber work occupying the full height of the space.
NEW YORK Whitney Museum of American Art Rachel Harrison’s sculptures possess a wild and perplexing eclecticism that makes it difficult to ascertain the exact meaning and emotional tenor of her imagery. In her assemblages—which could be called monuments since they memorialize both a series of actions and a juxtaposition of things on a large scale—ideas and processes coming out of sculpture, painting, architecture, popular culture, and the banality of everyday life are placed side by side or on top of each other, without, or at least rarely, becoming one.
Claude Monet saw painting entirely as an act of abstraction, even with his easel rooted en plein air, saying of representation, “Try to forget what objects you have before you—a tree, a house, a field.
Elana Herzog’s work explores how civilizations merge, overlap, and sometimes become as threadbare as a piece of cloth. Her practice involves subtraction and addition, deconstructing everyday materials then adding patterns, staple tracks, and other gestures to create uniquely tactile objects.
REYKJAVÍK Reykjavík Art Museum Shoplifter’s complex sculptures, murals, drawings, and intimate installations numinously transform the places that contain them. Her themes vary from beauty to fashion, mythology, and more recently, the earth.