Boston A faint pencil drawing of a wide trapezoid topped…see the full review in June’s magazine.
Archive
Joseph Goto
Chicago Some artists have abrasive personalities that limit their impact and…see the full review in June’s magazine.
Laure Drogoul
Baltimore Laure Drogoul’s 25-year retrospective “Follies, Predicaments and Other Conundrums” engaged…see the full review in June’s magazine.
Margaret Boozer
Washington, DC For her recent show, sculptor and ceramicist Margaret Boozer covered…see the full review in June’s magazine.
Ilan Averbuch: Between the Intimate and the Monumental
Every art form conveys a specific sense of human nature, and there is a bond between sculpture and the surging sensation of monumentality, of our belief in our own grandeur. But the monumental does not merely, perhaps not even primarily, demarcate human pride, the feeling of our importance to a universe that needs to be
Greg Johns: Acknowledging the Land
For many artists, their most recent work is the most important; past production fades in significance. Not so with Greg Johns. In spite of basic changes in style over the course of his career, he is quite prepared to return to and develop earlier concepts.
Disappearing into Your Work: A Conversation with Mai-Thu Perret
For nearly a decade, Mai-Thu Perret has created a variety of works that stem from The Crystal Frontier, a fictional narrative revolving around the members of a feminist commune in the New Mexico desert. Although she splits her time between Geneva and New York, the desert provides the perfect blank slate for her utopian ideal.
Art as a Disappearing Act: A Conversation with Dustin Yellin
Dustin Yellin’s sense of wonder seems to come from another age. In his view, there is nothing quite as extraordinary as the rhythms, forms, and patterns found in nature. He surrounds himself with objects drawn from the worlds of fauna, flora, and minerals, as well as manmade things, ranging from the commonplace to the sublime,
Henrique Oliveira’s Tridimensionals: Brushstroke, Form, and Space
What was once radical is now accepted within the context of high art, from urinals to coyotes to canned feces. How do we recognize innovation in contemporary sculpture after we have seen so much over the past century?
