Dispatch: Artfront
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.
Dispatch: Mugger Music
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
New York Story: In Public Art, Artists and Audiences Transcend Geography
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,
The Architecture of Light and Space: An Interview with Stephen Antonakos
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,
Texture, Grace, and Drama An interview with Mary Lucier
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
