Fletcher Benton’s workplace is located in the light industry district of San Francisco. The busy 6,000-square-foot space is 23 feet high and can easily hold the forklift needed to assemble his large sculptures. It is filled with the noise of hammering, cutting, and welding—work performed by Benton’s assistants.
Dennis Oppenheim
Reno The Nevada Museum of Art…see the full review in May’s magazine.
Natural/Cultural: A Conversation with Alan Sonfist
Alan Sonfist has bridged the gap between humanity and nature for four decades. His works from the 1960s presaged what we now see as environmental art-artists working in the land and on site in our of cities, talking bioregionalism, site specificity, and an ephemeral approach to artmaking….
Zigi Ben-Haim
Hamilton, NJ Veteran New York-based artist…see the full review in May’s magazine.
Nayland Blake
Baltimore Imagine the clownish hilarity of…see the full review in May’s magazine.
Sue Eisler and David Helm
St. Louis Sue Eisler and David Helm have…see the full review in May’s magazine.
Forum: Absence Versus Presence: The 9/11 Memorial Design
Perhaps it was doomed from the start. The open competition to design a memorial for 9/11 was launched amid unclear and shifting parameters. Daniel Libeskind’s winning design for the rebuilding of the World Trade Center site, ostensibly selected for its respect of the space and its relics, embraced the memorial concept.
Zaha Hadid
New York Until recently, Iraqi-born and London-based…see the full review in May’s magazine.
