Los Angeles Regen Projects Gabriel Kuri’s work, though profoundly abstract, forges a relationship between the materiality of an object and the associative properties it embodies. His tightly compact sculptures are saturated with a pointed set of criticisms referencing commodification, waste, consumption, and corporate power.
North Adams Guillaume Leblon MASS MoCA On the floor was a carpet of beige linen intentionally laid down by the artist so that visitors would leave scuff marks to record their presence. Evidence and lingering traces of the past were among the persistent themes of “Under My Shoe,” an exhibition of works by Guillaume Leblon,
Edward Kienholz once declared, “I can see the results of ideas in what is thrown away by a culture.” A compulsive bricoleur, he found most of his materials in thrift shops, dumps, and garbage cans and used them in ways that retained their original identity.
In a studio piled with industrial scrap, busted-up cast iron plumbing fixtures, fragments of architectural decoration, and kitsch, Robert Hudson builds semi-abstract metal sculptures. He begins without drawings or models, makes a base, welds a support on top of it, and then adds elements by trial and error.
The gallery scene in New York, like the large metropolitan entity itself, consists of many diverse neighborhoods, each with its own constituents and concerns. Competitive but not cohesive, the New York art world remains a relatively small, even hermetic community with a common goal of showing and selling art of every type.
One can know quite a bit about American art after 1960 while knowing little or nothing about the work of Paul Thek. Indeed, one can visit many museums with important holdings in modern and contemporary art without chancing upon Thek’s work, and one can digest quite a body of literature on American art before stumbling
As a member of the much-celebrated New British Sculpture group in the 1980s, Bill Woodrow captivated the art world with his cut-out ensembles of morphed objects. Since then, he has continually reinvented the possibilities of sculpture, breaking with his original approach to create works made from welded steel and cast bronze, materials that other sculptors
Miami With so many fairs and biennials all over the world, the inevitable question arises: “Why bother?” But the 2013 Miami spectacle proved that it’s still possible to have meaningful encounters with art in a restricted space and time frame.
London The Hayward Gallery The problem with group shows is that the curator is powerfully present, and when a show attempts a survey or argument, it is hard not to be distracted by potential omissions or possible flaws.
Lorne, Australia 2014 Lorne Sculpture Biennale In Elizabeth Presa’s installations, active beehives function as small architectural objects that address dwelling-in and shelter. Her deeply process-oriented practice equates materials with political and spiritual value to re-imbue plaster, glass, wax, fabric, flour, paper, thread, bees, and snails with a significance either forgotten or overlooked in the mad