SEATTLE MadArt MadArt founder Allison Milliman wants to demystify the process of creating art by bringing it into the community. Artists, who are invited to imagine and create in a massive 4,000-square-foot space with 23-foot-high ceilings, work in full view of the street, visible through large sliding glass doors that encourage obsessed techies (this is the Amazon zone of Seattle) and other members of the public to observe or participate in the artistic process.

Read More

ISTANBUL ARTER “Not All That Falls Has Wings,” a group exhibition of works by Bas Jan Ader, Phyllida Barlow, Ryan Gander, Mikhail Karikis and Uriein Orlow, Cyprien Gaillard, VOID, and Anne Wenzel, considered the act of falling as an earthly condition. Curator Selen Ansen selected works focused on the “productive dimension of falling” in which, “rather than sublimating reality,” the artistic gesture seeks “to create the conditions for dealing with the surface, and coming to terms with the bottom.”

Read More

PITTSBURGH Mattress Factory On Friday, June 17, 2016, William Peduto, the mayor of Pittsburgh, flipped the switch to unveil the Mattress Factory’s new light commission, Acupuncture, a permanent public art installation created by German artist Hans Peter Kuhn. Berlin-based Kuhn is an ingenious self-taught artist and composer who makes large-scale, site-specific light and sound environments for public spaces.

Read More

NEW YORK Mitchell-Innes & Nash Though Jessica Stockholder is known for both freestanding sculptures and works that extend from the wall into space, she introduced an interactive component into her recent exhibition. Taking over almost half of a large gallery space, the title work, The Guests All Crowded Into the Dining Room, fused aspects of sculpture and painting with an active experience of viewing. Bio­morphic shapes rendered in vibrant colors were transformed into a large stage and platform. Mean­while, each viewer’s individual engagement with the work helped to make it responsive to constant flux-Stockholder’s sculptural rendition of an ephemeral moment.

Read More

NEW YORK Metropolitan Museum of Art The big buzz surrounding Cornelia Parker’s Transitional Object (Psycho Barn) on the Met roof was well-deserved. The family-friendly art experience offered up visual clues in many directions. Though the Hitchcock film Psycho (1960) is in black and white, Parker’s scaled-down (three-quarters actual size), blood-red version of the Bates house had many of the same features, including the wagon-wheel wood scallops on the porch and an oculus on the steeply sloped Man­sard roof. Like its inspiration, Parker’s object was only the front of a house.

Read More

BEACON, NEW YORK Catalyst Gallery Pablo Garcia Lopez is like a modern-day Bernini, sculpting baroque figures in cast natural silk, rather than marble, to create exquisite and contradictory sculptures. Exploiting the sensuousness of spun-silk, he sets that soft fleshiness against the sharp steel of surgical implements to shock and fascinate. In Wedding Cake with Pietà Topper, Garcia Lopez uses band-saw blades with upright teeth to define the five tiers of the “cake,” which is topped by Michelangelo’s well-known image of Mary holding the body of Christ.

Read More

NEW YORK Mnuchin Gallery Over the decades, David Hammons’s aesthetic originality has maintained relevance through his oblique use of materials and subtle manner of transmitting meaning through seemingly incongruous, yet fertile combinations of objets trouvés. There are many examples, ranging from rock and hair sculptures to vibrantly lyrical Kool-Aid paintings and his rugged use of black rubber, fabric, concrete, and steel, not to mention his snowballs and paintings concealed by tarpaulins.

Read More