Davina Semo is folded over her laptop, head in her hands, elbows on the table. She makes eye contact with the camera, with me, and we both laugh. There’s really nothing else we can do. We both have the lights on—she in her studio in San Francisco, me in my home a few miles away.
A set of deep blue glass sculptures sits in a window of Peggy Guggenheim’s unfinished palazzo, overlooking Venice’s Grand Canal. Made from sketches by Picasso, they are a rare relic of Guggenheim’s collaboration with Egidio Costantini, Murano’s “master of masters.”
Pae White’s primary material might well be the history of applied arts. In a new show at the San José Museum of Art (on view through January 19, 2020), she draws on at least 2,000 years of artistic practice, from goldwork to carpet weaving, bookbinding, printmaking, and painting.
Considering the long-held view that, for ordinary people, manufacturing jobs hold the key to the American dream, there is something almost elegiac about the often reported fading fortunes of blue-collar workers. But is material, or physical, labor really a thing of the past to the extent that so many seem to think?
Nick Hornby’s largest sculpture to date is unveiled this month in Harlow, U.K. The town’s historical collection includes works by Auguste Rodin, Barbara Hepworth, Henry Moore, and Elizabeth Frink, among many others, so is a fitting environment for an artist whose subject is frequently the canon and its construction.
Shinji Turner-Yamamoto’s sculptural and photographic installations resonate with a sense of stillness, presence, and spirituality. Visiting locations with personal meaning—historic and sacred sites from Cincinnati to Jaipur and remote wilderness outposts in Ireland, Switzerland, and the Pacific Northwest—he intuitively chooses his materials.
Fluidity is the key to Cristina Iglesias’s work. Her monumental public projects, whether involving the flow of water, the play of shadows, or the ritualized movements of bronze doors, lead viewers into places where architecture morphs into a hybrid of the natural and imaginative worlds.
The second iteration of International Sculpture Day (IS Day) was celebrated on April 24, 2016 by an estimated 10,000 participants in more than 20 countries around the world. Since the initial event in 2015, these numbers have more than tripled, which confirms the enthusiasm for IS Day and the foresight of Johannah Hutchison, executive director
Almost 100 feet tall and constructed of 2.5-inch-thick plate steel lined with refractory brick, the iron cupolas at the Carrie Furnaces National Historic Landmark in Swissvale and Rankin, Pennsylvania, are extremely rare examples of pre-World War II iron-making technology.
Marc Quinn’s All nature flows through us (2011) is an innovative, 10-meter-diameter sculpture sited in a small river north of Oslo, Norway, at the sculpture park of the Kistefos-Museet. It was no easy feat to install.
