Thomas Schutte, Piazza Due, 1986. Mixed media, installation detail. Sculpture, like art in general, has become an amorphous concept, ill-defined and perhaps undefinable–yet another case of art-as-epistemological-problem. Anything that occupies space, and doesn’t hang on a wall, is “sculpture” or “sculptural.”
Arthur Ganson and His Elegant Mischief Machines
Faster, 1982. Mixed media. If motorized sculpture could be cast in dramatic roles, Rebecca Horn’s sporadically silent and staccato objects would fit nicely in existential melodramas à la Samuel Beckett; Bruce Nauman’s heavy irony and foreboding forms seem to embody Antonin Artaud’s Theater of Cruelty; and Jean Tinguely’s lightly satirical fusions of parody and absurdity
Pierwalk ‘98
Dispatch
Peter Kennedy
Melbourne
Pietro Consagra
Darmstadt
Per Kirkeby
London
Ed Wicklander
Seattle
