New Orleans The gallery literature for “The Comeback Exhibition”…see the full review in September’s magazine.
Whitney Biennial
New York The 2006 Whitney Biennial resembled one…see the full review in September’s magazine.
Cornelia Parker
San Francisco During a 1997 residency at ArtPace in…see the full review in September’s magazine.
Robert Rauschenberg: A New Sculptural Idiom
Robert Rauschenberg’s Combines, created between 1954 and 1964, were revolutionary in the history of art. Leo Steinberg called them a “shift from nature to culture,” and his characterization is still the most successful critical description. Others have discussed the works as collages, grids, “definitive incongruity,” and “relaxed symmetry.”
David Eckard: The Object as Diary
Just before leaving his studio in Portland, Oregon, for a four-month residency in France at the Pont Aven School of Art last year, David Eckard worked feverishly to finish the sculptures—or “objects,” as he calls them—for his fall exhibition at the Manuel Izquierdo Gallery at the Pacific Northwest College of Art.
Elizabeth Turk: The Collars
With The Armory Show and its cousin once-removed, the Whitney Biennial, now in the recent past, what remains standing in the memory? For this viewer, several works about town, most especially Elizabeth Turk’s exhibition at Hirschl & Adler Modern, palliated an acute case of Stendhal syndrome and restored faith in art’s ability to be meaningful
Rath Around the House (The Greats of Rath)
We gave our Doberman to my sister-in-law the other day. Her kids had always loved Orenthal. Besides, “Juice” had gone docile on us over the last decade, his sentry instincts replaced by drooling and excessive gas.
Alan Rath: Meta Mechanics
We’ve all had about enough of machines. Computers break down; ATMs swallow bank cards; cell phones, MP3s and DVD players inconveniently die in the midst of declarations of undying love. Galleries and museums often seem like the last vestiges of unmechanized culture, packed with objects made, as we like to say, by hand—never mind that
Katy Stone: Embodiments
2005 was a signal year for Seattle artist Katy Stone: her first solo museum exhibition, including a site-specific installation on view for 10 months at the Boise Art Museum (BAM); her inaugural solo appearance in New York, plus one-woman gallery shows in Seattle and Manhattan Beach, California; and a handsome, full-color catalogue of recent work
From Line to Mass: A Conversation with William Tucker
William Tucker had already established a significant career as a sculptor in England when he moved to the United States in 1978. He was included in the seminal “New Generation” exhibition at the Whitechapel Art Gallery in London in 1964 and represented Britain at the 36th Venice Biennale in 1972.
