When Jacob Hashimoto entered the School of the Art Institute of Chicago, he planned to become a Minimalist painter like Robert Ryman, Brice Marden, or Agnes Martin. At one point, he ran out of ideas and just sat by his easel.
Adriana Carvalho
MIAMI Miami International Airport On Concourse E, mia Central Gallery recently installed “Objet petit a,” which served as a mini-retrospective of Adriana Carvalho’s three-dimensional pieces.
Red Grooms: Benign Satire
It makes total sense to learn that Red Grooms was helped on his way toward his distinctive sculptural forms by an oddball comic strip. Smokey Stover, so named for the central character, featured a fireman who always wore his helmet back to front, and it got the attention of Charles Rogers Grooms, a Nashville schoolboy with a phobia about fire.
Jack Whitten
NEW YORK The Met Breuer Whitten’s work richly demonstrates the notion that whatever escapes restrictions escapes categorization. Unfortunately, what escapes categorization can also escape detection.
Object Lessons: Rachel Whiteread
Line Up—literally a line of these things—plays a bit with scale and the line that goes around a paper roll almost like a drawing.
Analia Saban
NEW YORK Tanya Bonakdar Gallery Process matters to Analia Saban. It’s in the DNA of everything she creates, inseparable from the concept germinating a specific piece and embedded in larger, evolving bodies of work.
Seward Johnson: Against Propriety
Recipient of the 2020 Lifetime Achievement in Contemporary Sculpture Award Seward Johnson, whose artistic and professional career as a sculptor spans more than 50 years, initially received wide critical acclaim in the 1960s for his first work, Stainless Girl.
Enrico David: Accomplice to the Unfinished
How do you lift a drawing off a page? This complex thought is at the heart of Enrico David’s work. His sculptures, installations, paintings, textiles, and collages are all rooted in a body of drawings. His practice is self-referential.
Studio Visit: Alyson Shotz
“Alyson Shotz: Un/Folding” is on view at the Hunter Museum of American Art through May 27, 2019.
Dispatch: Keith Sonnier
Parrish Art Museum, Dan Flavin Art Institute, and Tripoli Gallery Although celebrated in Europe, Sonnier has not had a major American museum exhibition before last year’s “Until Today” at the Parrish Art Museum in Water Mill, New York. This retrospective, organized by Terrie Sultan, director of the Parrish, and guest curator Jeffrey Grove, showcased 39 pieces from 1967 through the present, providing a broad context for works displayed concurrently at the Dan Flavin Art Institute in Bridgehampton and Southhampton’s Tripoli Gallery.
