The Art Museum, Florida International University Miami Some artists are so subtle in their approach to the viewer that they may make contact with only a very small number of the people who see their work, satisfied that this “special” group understands their meaning, Others bombard the viewer with the message they want to communicate,
Monika Weiss
Atlanta
Ten Years of Site-Specific Art
Ten years of evolution in site-specific art can be neatly bracketed by the “Skulptur Projekte” exhibitions held in Münster in 1987 and 1997….see the full review in March’s magazine.
Claudio Parmiggiani
Turin, Italy Promotrice delle Belle Arti For this exhibition, curators Gianni Vattimo and Valentina Castellani selected 40 works from private European collections… for the full review see the print version of March 1999’s Sculpture magazine.
Janice Kluge
Huntsville, AL The Huntsville Museum of Art When one of Janice Kluge’s sculptures features a recognizable figural or architectural element, it may range in scale from approximately one twentieth to one quarter of the actual size of what it represents… for the full review see the print version of March 1999’s Sculpture magazine.
Janine Antoni
New York Whitney Museum of American Art Janine Antoni’s sculptures and performances have always been labor intensive… for the full review see the print version of March 1999’s Sculpture magazine.
Bernar Venet
Bernar Venet, (Left) Interminate Area, 1998. Torch-cut steel, 98 x 168.5 x 1.4 in. (Right) Two Interminate Areas, 1998. Torch-cut steel, 98 x 168.5 x 1.4 in Almost 30 feet high and painted bright red, Bernar Venet’s Acute Angle of 19.5 (1986) stands in sharp contrast to the predictably right-angled facade of a nearby office
Nancy Blum
Minneapolis Circa Gallery The idea that a work of art can reflect some latent scientific function or suggest some unknown technological purpose, without really possessing either, is a construct that has been bandied about by scores of artists over the past decade… for the full review see the print edition of March 1999’s Sculpture magazine.
Louise Nevelson: Sculpture and Drawings from the 1940s
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.
