Bridgehampton, NY The Elaine Benson Gallery As part of a benefit exhibition for The Nature Conservancy at The Elaine Benson Gallery in Bridgehampton, which featured the work of 13 artists that reflected the inspiration of the landscape, Meryl Taradash’s installation “Wind Driven Sculptures” took itself out of this narrow category and expanded the notion of
Marcos Lora Reed
Miami Miami Art Museum Marcos Lora Read is a nomad. He is a world citizen, international artist, and the ultimate contemporary man… for the full review see the print version of March 1999’s Sculpture magazine.
Heide Fasnacht: Love Gas & Invisible Objects
Heide Fascnacht, Bomb, 1997. Graphite on paper, 22 x 30 in. During the past 20 years, the notion of “imagination” has been given short shrift. With very few notable exceptions, a fast scan through the art magazines of the past two decades leaves the impression of rigid categories of work produced by legions of practitioners
Ellsworth Kelly on the Roof
New York Metropolitan Museum of Art l like the idea of sculpture going up into the sky,” reveals Ellsworth Kelly as he takes stock of his large-scale sculptures in the exhibition “Ellsworth Kelly on the Roof,” at the Metropolitan Museum of Art… for the full review see the print edition of March 1999’s Sculpture magazine.
Inigio Manglano-Ovalle
Winston-Salem, NC Southeastern Center for Contemporary Art (SECCA) Walking into lnigio Manglano Ovalle’s recent show at SECCA… for the full review see the print version of March 1999’s Sculpture magazine.
Alberto Giacometti
Montreal
Barbara Kruger
Southampton, NY The Parrish Art Museum Barbara Kruger’s installation on the facade of The Parrish Art Museum beckoned the viewer to walk along and stand among her signature graphics in one of her most affectionate and sculptural works to date.
Michael Quane
Dublin, Ireland Temple Bar Gallery Vitrine art was dismissed by Modernism, its finger-facility regarded as a dangerous chocolate-box covering, atop a vacuum. Talent and adroitness were there in shovel-fulls but the great shiver of “art,” the fine discriminations of emotion (as opposed to bombast and rhetoric) were absent… See the full review in the print
