Richard Serra’s tough guy status as the last gasp of machismo in art is fading as the lyrical “Torqued Ellipses”-shown at the Dia Center in New York and, with added forms, at MOCA’s Geffen Contemporary in Los Angeles-turn him into a friendly tourist attraction.
Dove Bradshaw
Los Angeles
Shawn Skabelund
Detroit
David Bates
Dallas
Edward Mayer: The Idea of Impermanence
Linear Accelerator, 1994. Wood, hardware, and mixed media, 13 x 20 x 35 ft. Home is the point of departure for Edward Mayer. With one foot both in and out the door, each step around a Mayer installation site takes you miles from its start.
Rachel Whiteread
New York
You Cannot Go Home to Another Place: An Interview with Andries Botha
Home, 1997. Wood, mild steel, aluminum, lead, electrical fittings, and astroturf, 3 x 3 x 4 m. Carol Becker: I think we should start from the recent Johannesburg Biennale, and go backwards. Why did you choose to do what you did at the Biennale?
Martin Puryear: The Call of History
North Cove Pylons at Battery Park City, 1995. Granite and stainless steel, north pylon: 72 x 5.75 ft; south pylon: 56.75 x 7 x 7 ft. Two new sculptural works and two design projects by Martin Puryear demonstrate his talents as a literal mold-maker and a figurative mold-breaker.
Clyde Connell: 1901–1998
Numbered and Filed #2, 1984. Mixed media, 74 x 32 x 22 in. Last April, one month before she died at the age of 96, the state of Louisiana designated its native daughter, sculptor Clyde Connell, a “legend.”
