Winifred Lutz’s work crosses the boundaries of seemingly divergent disciplines and encompasses many angles of thinking. In this interview, we knew that we could only touch on one aspect of her work, so we chose to look through the lens of the garden since we share a deep interest in the dynamic processes of the
NEW YORK Haunch of Venison The pursuit of figurative sculpture today occurs not without a sense of déjà vu; like figurative painting, representational sculpture is hard put to break out of tradition to reach an exploratory, even experimental, sense of the medium. But Kevin Francis Gray’s recent work shows us that a questioning, innovative sensibility can still expand the range of figurative art.
David Henderson’s A History of Aviation-Part 2 circumvents the dominant movements of postwar art. The soaring white fiberglass and Dacron installation, which filled an entire gallery, is neither conceptual nor politically driven. It does not reference the gestural painting or sculpture of Abstract Expressionism.
NEW YORK Haunch of Venison Chiharu Shiota’s sculptures and installations use basic materials—glass windows, black thread, found objects such as a violin or a child’s dress—in highly innovative ways. Born in Japan, now based in Berlin, Shiota makes use of an international language of contemporary art, one which serves to poetically enclose information about objects whose history can be felt if not touched.
Piero Gilardi began his artistic activity in the 1960s and participated in the birth of Arte Povera. After achieving fame in the 1970s, he turned away from the art world and began investigating the phenomenon of collective and spontaneous creativity in various social contexts.
NEW YORK Gary Snyder Gallery Two mid-size rooms barely contained the luminous effect generated by Richard Van Buren’s new wall and floor sculptures. Spaciously displayed, the sinuous, winding forms all delighted the eye like brightly colored jewels and enticed with highly ornate surfaces coated in an array of delicate hues studded with shells.
NEW YORK Solomon R. Guggenheim Museum Freestanding sculptures and wall pieces by John Chamberlain filled the Guggenheim Museum’s four floors last spring, offering viewers a posthumous survey of the artist’s crumpled steel and crushed metal sculptures from the past 40 years. His unique approach to sculpture began in 1957, when he took material from an antique car belonging to Larry Rivers and drove over it, as he told Julie Sylvester in a 1991 interview published in a Pace Gallery catalogue.
BOSTON Boston Sculptors Gallery The retinal dazzle of Op Art came and went decades ago—as with many fads, it caught the eye, and then there seemed little more to say. But here it is again, mobile and in three dimensions, in the metal work of Nancy Selvage. This time, it appears to have many more possibilities.
MONTREAL McCord Museum Laura Santini’s recent installation, sited within an exhibition of Innu art, consisted of a polar bear made from oyster shells collected at Montreal seafood restaurants. The project began modestly enough as Santini brought home a bag or two from each restaurant visit.
Vibha Galhotra’s first exhibition at Jack Shainman Gallery began dramatically with Neo Camouflage (2008), an installation in which four mannequins dressed in military garb stood guard before a large photo mural of Old Delhi rooftops. The panoramic vista, seen from a tower of the Jama Masjid mosque (the city’s highest spot), casts a god-like omnipresence
