Philadelphia Matthew Ritchie’s lines, shapes, and symbolic personages spin themselves across the surfaces of walls, into space, down onto the ftoot and back onto the walls as diagrams and shadows….see the full review in January/February’s magazine.
Mayumi Sarai
New York Japanese-born Mayumi Sarai moved to New York City in 1991, continuing her education at the New York Studio School after graduating from Nihon University College of Art in Tokyo….see the full review in January/February’s magazine.
“The Kingdom of Siam: The Art of Central Thailand, 1350-1800”
Salem, Massachusetts To many Occidentals, the category “Asian sculpture” brings to mind the image of gilt Buddhas, all looking much the same, locked into a humdrum placidity. …see the full review in January/February’s magazine.
Manuel Neri
San Francisco Manuel Neri’s sculpture reveals a genuine grappling with form and process. His life-sized female figures have the kinetic presence of living beings…see the full review in January/February’s magazine.
Tim Hawkinson
Los Angeles The opening room ofTim Hawkinson’s mid-career survey, which debuted at the Whitney, featured the artist’s cathartic, gargantuan cardboard tree-house, Pentecost (1999)….see the full review in January/February’s magazine.
Caroline Cox
New York I first encountered Caroline Cox’s ingenious and gloriously trippy installation ‘Scuse Me While I Kiss the Sky at dusk, in a buzzing, whirling art opening crowd….see the full review in January/February’s magazine.
Electrifying the Inert: A Conversation with Keith Sonnier
Keith Sonnier arrived in New York in the mid-1960s, achieving early recognition with several prestigious national awards and representation by the Leo Castelli Gallery. Part of a generation of artists that included Eva Hesse, Barry Le Va, Bruce Nauman, Richard Serra, and Richard Tuttle, he turned early to the medium of neon in installations that
Jae Won Lee: Intangible Landscapes
In the frozen silence of a Michigan winter, life waits below ground, breathing under ice. The vast solitary landscape parallels Jae Won Lee’s reductive art-making methodology, stripping color to subtle modulations of white, nuances that punctuate the charged stillness.
Michael Combs: Real Men Don’t Carve Handkerchiefs
Michael Combs knows the trajectory of an osprey plummeting to its prey. He knows the silhouette of a heron, haloed in the steamy mist of a rising summer sun. He can tell his life in the cycles of sea lavender or the cacophony of arctic terns warning him away from their young.
