Five artists discuss their explorations of the U.S.-Mexico border through sculptures and installations responding to universal, political, and conceptual issues …see the full review in February’s magazine.
The cities of Rio de Janeiro, Brasilia, Recife, Olinda, and São Paulo offer a range of public sculpture characterized by local and international influences …see the full review in February’s magazine.
Philadelphia Jeffry Faust and Ray Young, Post and Beam, 1997. Mixed-media installation. One window at a time, Philadelphia is being transformed. Where once graffiti reigned as the dominant art form, a different vision now confronts those who by chance or design find themselves encountering some very different marks on the city’s facade.
New York Nick Crowe, Graham Parker, Ian Rawlinson, Mugger Music (detail), 1997. Traditionally, public sculpture has been concerned with the search for an appropriateness between an object and a specified civic environment. In Britain at least, a broadening of debates about the nature of public space and some enlightened moments in the allocation of public
Maria Elena Gonzalez, The Persistence of Sorrow (detail), 1996. Wood, rubber, Braille, vaseline, and tile, 14 x 18 x 22 ft. Some say that New York is not the center of the world. I disagree. As I type these words into my computer this early morning, alone in my study on the Lower East Side,
Neon Barrier, 1968. Neon, 2 x 2 x 30 ft. Stephen Antonakos has been a pioneer in the sculptural use of light since the 1960s. In addition to a number of ground-breaking gallery installations in New York, such as Neon Barrier and Walk-on Neon, he has also created permanent public works in New York, Tacoma,
Mary Lucier began her career as a sculptor, but has concentrated on video installation since 1973. Her works in that medium have been exhibited all over the world. For House on the Water, created for the Spoleto Festival U.S.A.’s