NEW YORK Park Avenue and Kasmin Sculpture Garden By the beginning of the 1950s, Rickey started to prioritize sculpture. He marketed a Calder-like, do-it-yourself mobile kit (Mobikit, 1952). His eureka moment came when he realized that he could build kinetic sculptures unlike Calder’s works, and mobile in more controlled ways, by applying engineering skills learned from his father and grandfather and practiced during his military stint.
Lygia Pape
LOS ANGELES Hauser & Wirth Underscoring sensory experience, its sensuality and embodiment, the show was presented in near-total darkness, with individual works picked out by spotlights that magnified their dramatic beauty and other-worldliness. Like Neolithic caves and Romanesque churches, such dimly lit environments can become metaphorical arenas of awe and spirituality; but they can also reduce the liminal to the merely theatrical.
Truer Forms: A Conversation with Yasue Maetake
The Wind, 2016–19. Forged steel, cast polyester resin, resin-coated soil on Plexiglas, and drawing on found plywood, 90 x 113 x 106 in. Photo: Courtesy the artist. Yasue Maetake, a Japanese sculptor who has been living in New York for more than 10 years, creates small to life-size works with found materials, blending abstract and
Taking Turns: A Conversation with Richard Deacon and Bill Woodrow
For over 30 years, British sculptors Richard Deacon and Bill Woodrow—both internationally recognized for their individual work—have engaged in intermittent collaboration. To date, they have produced more than 60 “shared sculptures,” and they are now showing their first-ever collaboratively made drawings, created between 2019 and 2020.
Object Lessons: Maya Lin
I knew I wanted to create something for Madison Square Park that would be intimately related to the park itself, the trees, and the state of the earth. Throughout the world, climate change is causing vast tracts of forested lands to die off.
Visual Impulse
Published to celebrate Don Gummer’s long career, this monograph does an excellent job of covering his multifaceted creativity.
The Frayed Edges of Things: A Conversation with Cerith Wyn Evans
In the neon works of Welsh conceptualist Cerith Wyn Evans, “real light” (as Dan Flavin called electric light) appears like an un-flickering flame, creating brilliant and bizarre spatial drawings. His sculptures resonate with an amalgam of illusion and fact, interacting with the spaces that they occupy, disappear into, and dissolve.
Cuando la fotografía toma el espacio: Una Conversación con Esteban Pastorino
Técnico Mecánico y con estudios en ingeniería mecánica en la Universidad de Buenos Aires, el artista visual argentino Esteban Pastorino focaliza su producción en el campo de la fotografía.
Liz Magor
VANCOUVER Catriona Jeffries Liz Magor’s dramatic installations encapsulate the chaos of our times, piecing together puzzles in which everyday objects enact confounding and disturbing narratives. Born in Winnipeg, Magor has resided in Vancouver most of her life. She speaks fondly of her Vancouver childhood, recalling its seaside harbor as a “wild, cranky, beautiful type of place,” which might also describe the bewitching mix of the beauteous and the abject in her work.
Wallace Chan
VENICE Fondaco Marcello There is a commentary on the interconnectedness of community, but also on our internalized fragmentations, our duplicitous natures. We might know of Janus, the two-faced god, but these deities have multiple faces, features that slip and merge unrelentingly into one another.
