Stylistic concepts always carry the danger of confining artworks too much. In exhibition reviews, the works of Johannes Girardoni and the sculptures of Nelleke Beltjens are regularly referred to as “Minimalist.” If, by Minimalism, you understand the use of simple, basic plastic forms and the application of structural features such as serialization, repetition, and symmetry,

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Since moving to Seattle from the small Japanese town of Shikoku in 1995, Yuki Nakamura has transformed Northwest abstraction into a minimal, unembellished art form. Beginning with her anthropomorphic porcelain sculptures, Nakamura’s abstraction has evolved into a performative gesture.

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One doesn’t simply look at the work of Akira Sakai. Instead, one becomes involved in it, wrapped up and embraced by something that demands to be considered. With express intentions to penetrate the domain of everyday life, the artist has set out to envelop senses both inside and outside the gallery.

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Born in London in 1961, Lawson Oyekan grew up in his parents’ native Nigeria. In 1983, he returned to England to study at the Central School of Art and Design (1985–88) and the Royal College of Art (1988–90).

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Visually arresting, Yinka Shonibare’s art plays imaginatively with stereotypes about race, class, culture, gender, and sexuality in order to deconstruct these concepts and show that they are “manufactured.” His re-creations include Diary of a Victorian Dandy, a suite of large photographs based on Hogarth’s The Rake’s Progress, in which he portrays the Victorian dandy; a

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A “cloth” made by sewing thousands of recycled, crushed, and flattened liquor bottle tops. A 10-foot-tall installation of redundant newspaper printing plates used for obituary pages and re-used as sculptural material to comment on temporary— and disposable— human lives.

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