Atlanta Museum of Contemporary Art of Georgia Scott Ingram’s “Blue Collar Modernism” included collage sketches, paintings, and sculptural installations that underscore his interest in modern architecture and functional building materials. Following the exhibition title, the work made a promise to explore aspects of Modernism that are often conflated and at times contradictory—on the one hand,
Zurich Hauser & Wirth “Lines” featured a positively intellectual body of non-works that appeared to want to disappear from view. Beneath curved steel ribs rising up into the ceiling, the industrial-style space of Hauser & Wirth might have been completely empty were it not for the wafer-thin works and barely visible thread installations that resonated
New York Luhring Augustine Gallery Tunga’s intention to generate astonishment and perplexity was more than fulfilled in his fifth exhibition at Luhring Augustine. Abounding with evocations of human shapes, forms, meanings, and connections, “La Voie Humide” created an arena for free-flowing associations.
Acton, Massachusetts The Quarry Just beyond a new cookie-cutter housing development, the woods of semi-rural Acton, Massachusetts, open up into an astonishing sight: an assortment of contemporary sculptures made from wire, granite, and repurposed old machines.
Los Angeles Blum & Poe A seminal figure in the Mono-ha movement, Nobuo Sekine is particularly associated with its emergence, which was marked by his large-scale earthwork Phase—Mother Earth (1968). For this work, he dug a cylindrical hole in the ground, approximately seven feet wide and nine feet deep; then he placed the excavated earth,
Los Angeles L.A. Louver Gallery “Disgust” is a specific and powerful term; Rina Banerjee uses it to describe bodily response and emotion at the extreme of self-control. She perceives disgust as the trigger for a transformative moment that alters perception.
How do you solve a problem like Gillian Jagger’s label-defying work? It does not fit into any familiar art-market niche and confounds many of the art establishment’s trend-conscious poobahs. It is not postmodern-ironic, nor does she send her designs out to nameless fabricators to be manufactured—bigger, shinier, more expensive—and then sold to trophy-seeking Russian oligarchs
Zilia Sánchez defies categorical definition. Her high-relief, shaped canvases hover between painting and sculpture. A breakout art world success at the age of 87, she is a Cuban national, who has lived off the island since the revolution, and she creates apolitical work.
Though Australian artist Alun Leach-Jones is known primarily for his paintings, he began to make sculptures more than 20 years ago in 1992. Working in his studio—a converted factory building in North Sydney, near Sydney Harbor—he made three-dimensional works that, at the time, he did not consider showing.
Though Louise Paramor’s work inspires an initial reaction of pure visual delight, viewers are advised to look twice and think twice, for things are seldom as they appear. Paramor plays with contradictions and ambiguities, forcing us to ponder, reconsider, and question.
