SAN FRANCISCO Dolby Chadwick Gallery Ann Weber’s large organic sculptures exist in the borderland between abstraction and figuration. Many of her swelling bodies evoke the female form, while others are products of her ingenious imagination.
Archive
Joan Miró
WEST BRETTON, U.K. Yorkshire Sculpture Park Although Joan Miró was an early pioneer of construction, most of his three-dimensional work was concentrated within the latter part of his life. This exhibition, a collaboration between Yorkshire Sculpture Park, the artist’s family, and foundations, offered a journey through Miró’s fervent imagination, taking viewers from smooth dark bronzes to audacious, brilliantly colored assemblages of found objects, to a throng of theatrical personages set high on plinths.
Public Sculpture in an Age of Diminishing Resources: A Conversation with Cliff Garten
To enter Cliff Garten’s Venice studio is to encounter a visual dialectic of public and private that speaks to our times. On one wall is Being and Home, an impressive suite of 10 independent sculptures depicting living creatures, all meticulously rendered in different materials; on the other wall are images of the artist’s large-scale, collaborative
Dangerous Structures: A Conversation with Alice Aycock
With an encyclopedic quest for knowledge that seeks no iconic style, Alice Aycock mines the universe for all that is primeval, intuitive, technological, and irrational. Spinning millennial layers into whorls of complex structures, she asks: What’s life all about?
Making the Bridge Breathe: A Conversation with Douglas Hollis
Douglas Hollis’s three San Francisco studio spaces reflect the dimensions of his increasingly complex, collaborative public art. A square room dominated by computer monitors could be an architect’s office. The small downstairs shop is neatly gridded with what used to be familiar hand tools.
Crystal Schenk
MCMINNVILLE, OREGON Linfield Gallery Crystal Schenk’s installation Artifacts of Memory started off as a vague image in her mind connected to the loss and longing that she experienced after her mother’s suicide. She captured these qualities by creating a circular field of magnets, one set hung from the ceiling and the other tethered to the floor using nearly invisible wire.
Jared Steffensen
EPHRAIM, UTAH Central Utah Art Center Jared Steffensen’s solo exhibition, “Mom’s always afraid I am going to hurt myself…I usually do,” was at once blithe and sophisticated, sparking an unexpected (and even overlapping) dialogue between skateboarding and formalism.
“Antico: The Golden Age of Renaissance Bronzes”
WASHINGTON, DC National Gallery of Art An exquisite touring exhibition of small Renaissance bronzes by the sculptor known as Antico shows that strategies of appropriation and serialization, often considered to have originated in the 20th century, have an illustrious and much longer history.
Color as Material: A Conversation with Tilman
Tilman is definitely an artist’s artist. I first encountered his two-dimensional, non-objective work about 10 years ago while staying at the Center for Contemporary Non-Objective Art (CCNOA) in Brussels, where he was the artistic director. I grew quite fond of his “Tilman sandwiches”—layered horizontal stacks of painted materials that began his shift toward objects.
“Nature, Man, and Sound”
GONGJU, SOUTH KOREA 5th Geumgang Nature Art Biennale The 5th Geumgang Nature Art Biennale, which took “Nature, Man, and Sound” as its theme, was organized by Yatoo, a group that has been in existence since the early 1980s. The mix of work was international, with strong Korean representation, ranging from conceptual to Land Art-ish, purely sculptural, and sound sculptures—all seeking integration within their environment.
