When Jacob Hashimoto entered the School of the Art Institute of Chicago, he planned to become a Minimalist painter like Robert Ryman, Brice Marden, or Agnes Martin. At one point, he ran out of ideas and just sat by his easel.
December 2018
Minoru Ohira: Attractive to the Hand
Minoru Ohira uses wood in ways that make it seem like a newly discovered material. Surfaces flicker from light to dark—monochromatic or flecked with color, matte or gleaming, bristling with texture or smoothly uninflected, richly stained or overtly natural.
Interfering With Space: A Conversation with Mary Early
For years, Mary Early’s modus operandi has been to plot the placement of objects on floor plans and architectural elevations. Spaces, she insists, “activate” the art that occupies them. She began, more than 15 years ago, by making cast concrete and wood works sealed in a coating of beeswax.
Material States: A Conversation with Marcela Cabutti
Argentine artist Marcela Cabutti creates simple, elegant, and subtle works of fantasy and magical transformation based on a strong connection between forms and materials, particularly blown glass and fired clay. While some viewers may think of a Surrealist legacy, her sculptures and installations also draw on the literary tradition of Jorge Luis Borges, Julio Cortázar,
Creating a Way Back: A Conversation with Martin Soto Climent
Using found objects such as pantyhose, purses, bras, beer cans, and shoes, Mexican artist Martin Soto Climent creates sensual, anthropomorphic sculptures with minimal intervention. Easily dismantled (with the objects returned to their original state), these poetic, continually evolving juxtapositions raise questions about ephemerality, consumption, destruction, and desire.
The Evolution of a Four-Legged Table: A Conversation with Nahum Tevet
From his childhood on a Socialist-Zionist kibbutz to his present studio workshop in south Tel Aviv, the innovative Israeli sculptor Nahum Tevet views his world, and the things in it, in a very specific manner. Driven by an independence of thought and action, he has parlayed a limited Minimalist ideal into extensive installations and discerning
Liz Glynn
North Adams, Massachusetts MASS MoCA “The Archaeology of Another Possible Future,” the title of Liz Glynn’s monumental show, is enigmatic only until you see the reality, which lays out her view of a pressing question: “What happens to stuff, and the people who make stuff, in the age of an increasingly virtual, dematerialized economy?”
Hugh Hayden
New York White Columns and Lisson Gallery Hugh Hayden’s wooden sculptures—skeletons and furnishings fused with branches—evoke many associations. His recent debut solo exhibition at White Columns, which followed showings at Frieze London and FIAC Paris (after a 2018 MFA from Columbia University, where he served as Rirkrit Tiravanija’s teaching assistant), featured two large-scale works.
“Songs for Sabotage”
New York New Museum The New Museum’s fourth Triennial presented the work of 26 emerging artists, artist collectives, and groups from 19 countries. As in earlier iterations, this sparse, spaciously installed show, which filled the entire museum, had an agenda.
Robert Fones
Toronto Art Museum at the University of Toronto “Signs | Forms | Narratives” presented a concise, meticulously organized, and wholly thought-provoking overview of Robert Fones’s five-decade-long career. Over the years, this determinedly inquisitive artist has investigated history, modes of communication, and the parameters of vision by producing works that span sculpture, photography, painting, installation, books,
