Tokyo Japanese sculptor Kan Yasuda has…see the full review in June’s magazine.
Staging the Istanbul Biennial
International biennials like Istanbul have become a major forum for cultural dialogue…see the full review in June’s magazine.
Making Oxymorons Happen: A Conversation with Liz Larner
Liz Larner’s mid-career survey, presented at the Museum of Contemporary Art in Los Angeles from December 2, 2001 through March 10, 2002, covered the last 15 years of the Los Angeles-based artist’s work. Larner graduated from the California Institute of Arts in 1985 and rose to international prominence during the 1990s.
Sol LeWitt: Systemic Art Made Visual
These works demonstrate that the mind and the body do not have to be separated…see the full review in June’s magazine.
Controlled Passion: A Conversation with Petah Coyne
“This looks like art,” a tough-talking policeman pronounced, looking around at the fairyland of wax-bathed figures, birds, chandeliers, scarlet and blue feathers, worldly and otherworldly forms. Petah Coyne’s “White Rain” exhibition had a visceral immediacy not easily communicated in photographs.
Stephen De Staebler’s “Figure Columns”
The fractured human figure has been the subject of Stephen De Staebler’s sculpture for many years. In a 1998 exhibition at the Franklin Parrasch Gallery in New York he reduced this image to only the human leg.
The Game as a Narrative of the Self: The World of Alex Pinna
Milan doesn’t seem like an Italian city. The austerity of the architecture, the fog, the frenetic work pace reminds one more of a cold Northern European metropolis. In Milan, people have no time to waste, and they are definitely in no mood to fool around: the financial centers set their rules, political potentates organize their
Dispatch: “World Ceramic Exposition”
At a time of on-again, off-again reconciliation…see the full review in May’s magazine.
The Doors of Expression:The Work of Art in the Age of Quantum Processing Power
Forecasting the future of art is probably the most unmerciful of disciplines and the one, among other prophetic practices, that has consistently proven a historical impossibility. Hegel, the father of modern aesthetics, also happens to be the author of the most flagrant misreading of art history.
“The Standard”
Naoshima, Japan Approaching the small island…see the full review in May’s magazine.
