A Brazilian artist of Italian descent, Anna Maria Maiolino immigrated to Rio de Janeiro in 1960 and became associated with the New Figuration and New Brazilian Objectivity movements after attending the Escuela Técnica de Artes Visuales Cristóbal Rojas in Caracas and the Escola de Belas Artes in Rio de Janeiro.
Yane Calovski
HELSINKI Kohta Pinpointing the intentions behind “Personal Object,” Skopje-based Yane Calovski’s arresting exhibition of heterogeneous works ranging widely across materials and possible subjects, proved challenging. The difficulties became immediately evident in Embroidery (2020), a striking and expansive painted wood sculpture.
Maria Lai: Geographies of Memory
If birthplace is a determinant of fate, then Maria Lai (1919–2013), who was born in Ulassai on the island of Sardinia, embraced hers willingly, mining a profound cultural heritage made personal. For her, geography truly was destiny, and her work is defined by what was native to her experience.
My Mother’s House, My Father’s House: A Conversation with Jeanne Silverthorne
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.
