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.
Dispatch: San Francisco Art Exposition
To the surprise of many art lovers who are accustomed to expecting little or nothing from massive art fairs… for the full review see the print edition of March 1999’s Sculpture magazine.
Meryl Taradash
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
