For more than 30 years, Jeanne Silverthorne has investigated the psychological and physical space of the studio, as well as its successes and failures. For her, the studio is reality and more than reality. She identifies with its beat-up chairs, wiring, floorboards spent light bulbs—even its flies.
Object Lessons: Lauren Fensterstock
For a long time, I have been looking at how we shape landscapes and project meaning through them, but now I’m thinking less about a site and more about an event. With this piece, you’re experiencing a vignette of something happening in time.
Humaira Abid
SEATTLE Greg Kucera Gallery While “Searching for Home” featured installations of carved wooden objects like baby pacifiers, shoes, suitcases, and guns, “Sacred Games,” Abid’s recent show, concentrated on discrete, mostly wall-mounted sculptures and miniature paintings covering a wider variety of subjects; these works intensified the sense of material construction as a vehicle for significant content, including the oppression of Muslim women and the culpability of world religions.
Offending Statues and the Dilemma of Commemoration
Until the mid-20th century, governments (especially in America and Europe) erected propagandistic statues and memorials at will, works that quickly melted into the realm of invisible street furniture alongside lamp posts and traffic lights. Over the last 50 years, however, public sculpture has become properly public.
Academicismo Remasterizado: Una Conversación con Marcela González
La artista plástica Marcela González trabaja las esculturas ejerciendo sobre ellas una mirada académica atravesada por los ecos contemporáneos. Sus conocimientos de las formas, técnicas y materiales hace que, si bien la Antigüedad, el Renacimiento, el Barroco sean una fuente de consulta y referencia permanente, la artista ponga especial atención en el diálogo con las estéticas actuales.
A Conversation with Nick Hornby
“My practice over the last decade has been a very slow and systematic inquiry into authorship—the critique of authorship, methods of eliminating the personal subjective, and questions of digital reproduction. It led me to cool, calculated Boolean operations and slick, high-production sculptures.”
Tmima
GLEN COVE, NEW YORK The Museum of the Holocaust Memorial and Tolerance Center of Nassau County In “The Holocaust Through the Eyes of a Survivor’s Daughter” (on view through June 1, 2021), Tmima presents 30 emotionally shattering, mixed-media sculptures in which small, distorted figures populate ruined, apocalyptic landscapes.
Zsolt Asztalos
BUDAPEST Kiscelli Múzeum Asztalos’s video works have a compelling static quality—the light is fixed, a gaze is captured—and there is an eternal stillness, each person in a state of recollection. Asztalos captures the moment through an ineffable sensitivity to light; one feels the transition of time, of twilight or early morning, without an actual change happening in a conclusive reality.
Thaddeus Mosley
NEW YORK Karma Still making work at the age of 94, self-taught sculptor Thaddeus Mosley serves as an outstanding example of why Black Lives Matter. Although well known in the Pittsburgh area, where he has been exhibiting since 1959, his work has only recently gained a broader audience, due in part to his inclusion in the 2018 Carnegie International.
Davina Semo: Call and Response
Davina Semo is folded over her laptop, head in her hands, elbows on the table. She makes eye contact with the camera, with me, and we both laugh. There’s really nothing else we can do. We both have the lights on—she in her studio in San Francisco, me in my home a few miles away.
