On the Cover:
Jacob Hashimoto, The Eclipse, 2017. Paper, bamboo, acrylic, screenprints, and cotton thread, view of installation at Leila Heller Gallery, Dubai, UAE. Photo: Courtesy Leila Heller Gallery, Dubai.
One of the enduring features of art today is an engagement with past modes and movements that reproduces their look while stripping away, or substituting for, their original ideological frameworks. In this issue, for instance, Mary Early says she sees herself as a Minimalist sculptor, some of the time: “I do work from a somewhat rigid set of materials and processes whose forms generate their own reconfigurations.” Kay Whitney, writing about Minoru Ohira, points out that the artist’s “work can be seen as a private, hand-crafted reaction to Minimalism…placing the experiential over the visual.” Each to a large degree ignores the aesthetic ideology of Minimalism, while maintaining some of its formal qualities. This shift of emphasis is most notable in Kerry James Marshall’s Monumental Journey, the subject of a fine discussion herein. With that piece, Marshall created a form that certainly recalls Minimalism, but he uses it to powerfully address race.
Our aim at Sculpture is not so different: to take the old form of the magazine and imbue it with fresh ideas. We hope you enjoy the effort. —Daniel Kunitz