New York Louise Nevelson, Untitled, 1941-47. Ceramic, 18.25 x 12 x 5 in. Having already explored Louise Nevelson’s works of the ’30s in a 1997 exhibition, the current Washburn Gallery show looks at Nevelson’s development in the late ’40s.
Vassilis Yeros
Athens, Greece Kreonidis Gallery The Games of Light is the title of the latest work by Greek artist Vassilis Yeros, born in Arcadia in 1957… for the full review see the print edition of March 1999’s Sculpture magazine.
Petah Coyne
New York Galerie Lelong ln a sharp departure from the hanging wax pieces for which she is well known, Petah Coyne offered “Fairy Tales”… for the full review see the print version of March 1999’s Sculpture magazine.
Dispatch: Everyday, the 11th Biennale of Sydney
Sidney’s Biennale would have done well to drop the title “Everyday,” which in the face of the new Minimalist and conceptual works selected by curator Jonathan Watkins… for the full review see the print edition of March 1999’s Sculpture magazine.
Lita Albuquerque
Venice, CA William Turner Gallery Lita AIbuquerque’s new sculptures look like remnants of ancient codices, unearthed from the sands of time, with poems… for the full review see the print version of March 1999’s Sculpture magazine.
Jackie Brookner
St. Louis Gallery 210, University of Missouri Jackie Brookners installation is a visceral celebration of elemental matter and emotions… for the full review see the print version of March 1999’s Sculpture magazine.
Anne Chu and Bonnie Collura
Dallas The Dallas Museum of Fine Art Artistically speaking, Bonnie Collura is a child of old Hollywood and Disneyland, with a hankering for the 17th century thrown in… for the full review see the print edition of March 1999’s Sculpture magazine.
Elizabeth Catlett: The Spirit of Form
Elizabeth Catlett, Singing Head, 1979. Orange Onyx, 13 x 9 x 13 in. Since the mid-1940s, American-born Elizabeth Catlett has worked as a graphic artist, sculptor, and teacher. Together with her husband, painter and graphic artist Francisco Mora, she has also raised a family in Mexico.
M.J. Anderson
Seattle Davidson Galleries The central problem with working in marble today is the inescapability of antique and Renaissance models… for the full review see the print edition of March 1999’s Sculpture magazine.
