New York Hauser & Wirth Anna Maria Maiolino’s work stands out for its elegant aesthetic and gutsy use of homespun processes and materials. Born in Calabria, Italy, Maiolino grew up in Venezuela and Brazil. She and her husband Rubens Gerchman were among the original members of the New Objectivism Brazil movement (Nova Objetividade Brasileira), which
Draped Figure Arms Out, 2013. Fiberglass and paint, 185 x 165 x 60 cm. Daniel Arsham’s work is full of the unexpected: solid surfaces appear to bend and buckle, high-tech equipment looks like it’s existed for thousands of years, and people seem to walk through walls.
New York Museum of Modern Art Isa Genzken’s recent retrospective, featuring a complex mixture of things with resonating presence, provided a 180-degree exodus from participatory art and its aim of eliminating the artist. While Genzken’s work is neither imposing nor necessarily spectacular, it is very contemporary.
Boston deCordova Sculpture Park and Museum Conflate the styles of Henry Moore, Jean Arp, and Dr. Seuss, stir in California slickness and cartoon colors, and you get Roberley Bell’s The Shape of the Afternoon, which occupied the deCordova’s rooftop with a visionary garden.
Seattle Henry Art Gallery, University of Washington In an important North American debut, German artist Katinka Bock created seven new works for the Henry Art Gallery at the University of Washington, while deputy director Luis Croquer selected six additional pieces dating from 2008 to the present.
Alexandre Arrechea, who was born in Cuba, worked as part of the well-known collaborative Los Carpinteros before embarking on a solo career in 2003. Now, he navigates between living in Spain and exhibiting in biennials from Venice to Taipei and in museums from New York to Honolulu.
Berlin Krome Gallery The two objects in Michael Hakimi’s recent exhibition—works that oscillate somewhere between photography and sculpture—sat apart at the front and rear of the gallery. This situation alluded to a third, missing sculpture that ghosted the other two and broke apart the stillness of the space.
When I first interviewed El Anatsui, back in 2006, I was captivated by his use of found materials, form, and social context, but I consciously steered away from critical and art historical issues. To me, there was a more interesting story that acknowledged the heart, particularly in the haunting sculpture Visa Queue (1992).
Shirazeh Houshiary, who was born in Shiraz, Iran, and moved to London in 1974, had her first solo show in 1980 at the Chapter Arts Centre in Cardiff. Early on, she won recognition as part of a group of sculptors, including Richard Deacon and Tony Cragg, who came of age in the 1980s.
Frankfurt Städel Museum “Erwin Wurm: One Minute Sculptures,” curated by Martin Engler, head of the Städel Museum’s contemporary art collection, consisted of a survey of older works and new works created specifically for the Städel collection.