Something in the totality of Annabeth Rosen’s work does not lend itself to the question/answer format of the formal interview. Her conversational style, like her work, is rich and discursive, gaining in depth and resonance through additions and accumulations.
Romuald Hazoumè
NEW YORK Gagosian Benin-born Romuald Hazoumè brings wit and formal rigor to his assemblage sculptures. His recent exhibition featured bidon, 50-liter plastic storage containers (often used to transport gasoline illegally from Nigeria), refashioned into masks, some spray-painted and others festooned with feathers, pipes, brushes, and even a broom.
Judy Chicago
“I was always interested in fringe techniques. I did formed domes, I did big fiberglass sculptures, I went to autobody school—new form allows for new content. But nobody paid attention to my interest in fringe techniques as long as they were masculine. It was only when I crossed the gender gap into what was forgotten that it became notable.”
Sheila Pepe
LINCOLN, MASSACHUSETTS deCordova Sculpture Park and Museum Pepe’s robustly inked drawings, square and intricate, have a macho geometric strength. Though we are not supposed to characterize art as “masculine” or “feminine,” that seems to be exactly the point for this artist; Pepe insists on it by using housewifely materials and crafts to create forceful work.
James Turrell
NORTH ADAMS, MASSACHUSETTS MASS MoCA If people know one thing about James Turrell, it’s his vast Roden Crater project in the desert northeast of Flagstaff, Arizona. He acquired the site in 1977 and has been working on it ever since.
Urs Fischer
NEW YORK Gagosian In Jacques Tati’s genre-defying masterpiece Playtime (1967), Mr. Hulot, Tati’s unwitting alter ego, drifts haphazardly through a stylized, ultramodern Paris, interacting with a host of inanimate objects brought to life through technology and camera work within a massive, specially constructed set known as “Tativille.” In many ways, Urs Fischer’s recent exhibition, “PLAY,” with choreography by Madeline Hollander, picks up where Tati left off, but with a major upgrade in technology.
The Vessel
NEW YORK Hudson Yards An Object of Affection: Thomas Heatherwick’s Vessel is quickly assuming its role as Manhattan’s newest—and lasting—icon.
Giants Walking: A Conversation with Huma Bhabha
Huma Bhabha does not work with images culled from the Internet; she eschews appropriation and explanatory texts. Perhaps because of her devotion to old-fashioned creativity, Bhabha is rapidly becoming one of the most celebrated contemporary artists.
Les Lalanne
NEW YORK Kasmin Les Lalanne, the French husband-and-wife team of Françoise-Xavier Lalanne (1927–2008) and Claude Lalanne (who died on April 9, at the age of 93), worked and exhibited side by side, like flora and fauna.
Nancy Holt
NEW YORK Dia:Chelsea Describing Nancy Holt’s 1968 photographic series of Joan Jonas traversing sand dunes, Alena J. Williams, in her introduction to Nancy Holt: Sightlines, notes that “the constitution of landscape is bound not only to the physicality of the earth, but also to the physiology and psychology of the viewer, as well as the sensibility of the person framing its view.”
