Christian Boltanski’s haunting, provocative work draws on memory, history, ambiguity, and the presence of death in everyday life…see the full review in June’s magazine.
Barbara Benish
Huntington Beach Art Center Huntington Beach, CA Set amidst sand dunes imported into the gallery space from the beach nearby, Barbara Benish’s site-specific work, Sandcasfles, reflects the artist’s childhood memories of life near the sea. The California born, Prague-based aftist s installation addresses postmodern issues, while eschewing the strident or didactic overtones that often accompany
Dispatch: “Functional Follies: 20 Architectural Objects of Delight”
Savannah College of Art and Design Savannah was the setting for this exhibition of 20 landscape and garden follies commissioned by the Savannah College of Art and Design in celebration of its 20th anniversary… see the full review in the print edition of June 1999’s Sculpture magazine.
Ana Mendieta’s Sphere of Influence
Her trailblazing explorations of both feminist and postcolonial concerns in art have made Ana Mendieta an important precursor to many contemporary artists….see the full review in June’s magazine.
Lynda Benglis
Cheim & Read New York Defining Lynda Benglis’s newest works is not easy. Jeremy Gilbert-Rolfe, whose essay accompanies this beautiful exhibition, distinguishes the main characteristic of Benglis’s art: “Action Sculpture.” From the highly erotic video Female Sensibility (1973) to the palpable nature of her recent works in clay and bronze, Benglis has endeavored to input
Richard Rezac
Feigen Contemporary New York Walking into the Feigen Gallery the viewer confronted a melange of austere small sculptures made from conventional media such as bronze, cast iron, plaster, and wood. The distinctiveness of Richard Rezac’s sculpture becomes part of its allure, inviting the viewer to inspect each work.
Robert Roesch
Sande Webster Gallery Philadelphia ln his recent sculptures and combined paintings and drawings, Robert Roesch has refined his ability to state and restate experiences from nature through a geometry of stainless steel shapes that are at once complex and pared down… See the full review in the print version of June 1999 Sculpture Magazine
Only the Most Valuable Things: An Interview with José Bedia
Untrappable Figure, 1998. Top soil, sand, dry pigment, chain, spray paint, and oil lamp, 17 x 20 x 18 ft. José Bedia is one of the most widely known Cuban artists in the contemporary art world.
