When Jacob Hashimoto entered the School of the Art Institute of Chicago, he planned to become a Minimalist painter like Robert Ryman, Brice Marden, or Agnes Martin. At one point, he ran out of ideas and just sat by his easel.
MIAMI Miami International Airport On Concourse E, mia Central Gallery recently installed “Objet petit a,” which served as a mini-retrospective of Adriana Carvalho’s three-dimensional pieces.
It makes total sense to learn that Red Grooms was helped on his way toward his distinctive sculptural forms by an oddball comic strip. Smokey Stover, so named for the central character, featured a fireman who always wore his helmet back to front, and it got the attention of Charles Rogers Grooms, a Nashville schoolboy with a phobia about fire.
NEW YORK The Met Breuer Whitten’s work richly demonstrates the notion that whatever escapes restrictions escapes categorization. Unfortunately, what escapes categorization can also escape detection.
NEW YORK Tanya Bonakdar Gallery Process matters to Analia Saban. It’s in the DNA of everything she creates, inseparable from the concept germinating a specific piece and embedded in larger, evolving bodies of work.
How do you lift a drawing off a page? This complex thought is at the heart of Enrico David’s work. His sculptures, installations, paintings, textiles, and collages are all rooted in a body of drawings. His practice is self-referential.
Parrish Art Museum, Dan Flavin Art Institute, and Tripoli Gallery Although celebrated in Europe, Sonnier has not had a major American museum exhibition before last year’s “Until Today” at the Parrish Art Museum in Water Mill, New York. This retrospective, organized by Terrie Sultan, director of the Parrish, and guest curator Jeffrey Grove, showcased 39 pieces from 1967 through the present, providing a broad context for works displayed concurrently at the Dan Flavin Art Institute in Bridgehampton and Southhampton’s Tripoli Gallery.
NEW YORK Bridget Donahue If a Noguchi glass-top coffee table was the sophisticated pride and joy of the family, Reaves’s “knockoff” version was the offbeat black sheep, with a base made of gloppy sawdust and glue or car fenders rather than carefully carved walnut.