Reflecting on Space: A Conversation with Sharon Louden

Sharon Louden is best known for room-size, site-specific installations constructed from thousands of small components. She uses a variety of media, including painting, drawing, sculpture, and animation, aiming to capture movement and light. Within these works, industrial materials (her favorite is aluminum) are transformed into something more closely resembling forms in nature, even the human

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Elizabeth Michelman

RUTLAND, VERMONT Clastleton Downtown Galler Pandora, the first installation in Elizabeth Michelman’s recent exhibition, “Notes from Underground,” consists of things one might find forgotten in a basement, unearthed after the passage of years. An oversize steamer trunk made of dark gray-green metal provides an anchor. Propped up against it is a cello, its generous curves contrasting with the trunk’s linearity.

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Carolee Schneemann

QUEENS, NEW YORK MoMA PS1 Carolee Schneemann, speaking at the press conference for her touring retrospective, recalled the days when the art world labeled her unabashed use of her body to disrupt misogynist attitudes toward women as “lewd” and “narcissistic.”

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Doerte Weber

SAN ANTONIO Artpace Doerte Weber grew up in a country divided by a wall. Born in West Germany, she attended university in Berlin (1979–83). To visit her boyfriend in West Germany on the weekends, however, she had to travel through East Germany. Each time Weber crossed the border, she was overcome with emotion as she confronted the formidable wall erected inside a single country, complete with barbed wire and armed guards.

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Patricia Cronin

DUBLIN The LAB Gallery Even the crudest structure or site can become a shrine. Once connected to an item or individual deemed sacred, it transfigures into a space conducive to contemplation and rituals of remembrance—activities that keep the enshrined, in some way, alive. Patricia Cronin subverts traditional notions of a shrine to memorialize something that is handled, globally, with systemic disdain and a chronic lack of care.

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Sarah Meyers Brent: Natural Disasters

Sarah Meyers Brent’s friends tend to donate their used clothes to her, as if she were a branch of Goodwill. Not that she needs these garments to wear; instead, she uses them to construct complex sculptures in which their colors (faded to bright) and textures (smooth or fuzzy) add essential qualities to finished forms that

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