St. Louis St. Louis Art Museum Peyote Kit, Mid-20th century, Wood, brass locks and handle, cloth lining, and assorted objects inside, 8 7/8 x 21 1/8 x 7 3/4 in. Gilcrease Museum, Tulsa, Oklahoma. Unlike some American Indian exhibitions, “Art of the Osage” offers 100 objects whose aesthetic is spare and cohesive.
Playing It Straight, Upside-Down, and Backwards: A Conversation With John Scott
He sits before me, legs crossed, hands folded over one another like the wings of a giant bird, white beard and hair curling up from beneath a baseball cap. John Scott is 64. This would-be monk and recipient of the MacArthur Genius Award has come to Aspen, Colorado, from his native New Orleans to teach
Michael C. McMillen
Los Angeles The latest large-scale installation…see the full review in October’s magazine.
Mara Adamitz Scrupe
Kansas City The centerpiece of Mara Adamitz…see the full review in October’s magazine.
Liz Craft
New York Marianne Boesky Gallery For sheer weirdness, not much could beat Liz Craft’s show of figurative sculptures, made mostly of cast bronze. Craft is a brilliant artisan of the bizarre, someone whose idiosyncrasies seem tied to issues of California funk and the morbid consequences of bad dreams.
Constructing the Hieratic Object: Carol Ross
This has been an eventful year for Carol Ross, a sculptor whose steady artistic growth seems to be rewarded by , recognition in equal proportion….see the full feature in October’s magazine.
The International Sculpture Center 2004 Outstanding Student Achievement in Contemporary Sculpture Awards
The lnternatronal Sculpture Center is proud to present the winners of the 2004 Outstanding Student Achievement in Contemporary Sculpture Award. This year’s awards program attracted a record number of nominees from university sculpture programs in North America and abroad.
“Imitation Knotty Pine”
Memphis, TN Delta Axis @ Marshall Arts Artists and art historians are equally engaged in interpreting the past, though what appears in history books and on museum walls is not always what motivates studio work. Indeed, one might suggest that artists construct the past they need—or desire—based on the images they tack to corkboards or
