Provincetown, Massachusetts Catherine Widgery’s tornadic swirl dominated…see the full review in March’s magazine.
Lonny Tomono
Honolulu Trained both as a sculptor and a traditional…see the full review in March’s magazine.
Ralph Provisero
Miami The winged, leggy, monumental sculptures that…see the full review in March’s magazine.
Pino Pascali
Naples The Castel Sant’Elmo (built in the…see the full review in March’s magazine.
Kuma: Sculpture as Transcultural Theater
In my travels to Japan and other Asian countries over the years, it has become increasingly apparent that while cultural difference may be a reality, it is not necessarily a limitation….see the full feature in March’s magazine.
Salvatore Scarpitta: Dirt-Track Sculpture
Salvatore Scarpitta is an American artist of far-reaching imporrance to modern American art and culture….see the full feature in March’s magazine.
J. Morgan Puett: Smuggling and Grafting
One room at MassMoCA seems to have been forgotten during the two rounds of refitting and renovation responsible for the building we see today….see the full feature in March’s magazine.
Robert Morrison: Anxious Austerity
The first time I realized that Robert Morrison had something new to say was when, perversely, he said nothing at all. …see the full feature in March’s magazine.
Judith Shea: Seven Characters on the Verge of a Revelation
Judith Shea, a notable presence on the New York sculpture scene since the 1970s, seemed to have unaccountably withdrawn from it some 10 years ago. Her last major work to attract critical notice was an enigmatic equestrian sculpture carved in wood, stained black, and, in September, 1994, sited on 59th Street, just southeast of Central
Bristol-Myers Squibb Sculpture Project
Those who read the finance and science pages of their newspapers know that Bristol-Myers Squibb defines itself as “a global pharmaceutical and related health care products company whose mission is to extend and enhance human life.” Traditionally,
