Lisa Seebach, a German artist whose home studio is about an hour away from Berlin, spent the better part of 2017 as a resident at the International Studio & Curatorial Program (ISCP), a nonprofit space in East Williamsburg in Brooklyn.
January/February 2018
January/February 2018
Temporary Completion: A Conversation with Lizi Sánchez
As much about persuasion as indulgence, objects of desire depend on packaging and material matter for their allure. For London-based, Peruvian-born Lizi Sánchez, the careful design decisions made by conglomerates lead us to experience the world differently.
Time Sensitive: A Conversation with Silvia Rivas
Silvia Rivas graduated from the National School of Fine Arts as a sculptor, but she is interested in the capacity of video to capture visual ideas connected with the concept of time. Her first video installation was shown at the Museum of Fine Arts in Buenos Aires in 1990; since then, she has been awarded
Evidence of Action In Progress: A Conversation with Isabel Nuño de Buen
Isabel Nuño de Buen’s installations explore architecture, urban planning, experience, and memories, with an emphasis on re-creating and tabling organizational systems. Blending drawing and sculpture, she builds her constructions through a complex layering process in which each level operates according to its own internal logic.
Chung Seoyoung: Unexpected Moments of Sculpture
What to make of large scrap-like pieces of metal strategically placed on the floor? Or a tabletop with a chunk cut out of the corner? These questions come to mind as one searches for appropriate tools to assess Chung Seoyoung’s sculpture and multi – media work.
Double-Takes: A Conversation with Alisa Baremboym
Alisa Baremboym’s eclectic and hermetic work is receiving a great deal of attention, judging by the number of exhibitions in which her objects have been featured and by the critical literature they have generated. Her sculpture juxtaposes materials and processes, opacity and transparency, lightness and weight, abstraction and figuration, the past and the future, the
Laura Amussen
GETTYSBURG, PENNSYLVANIA Schmucker Art Gallery, Gettysburg College In Laura Amussen’s recent exhibition, nature provided relief from the pressures of an increasingly stressful world. The works in this intimate, meditative installation were formed from twigs, leaves, reeds, moss, and seeds. The walls were painted a dark red-brown color, the earthiness reinforced by low lighting focused only on the objects.
Diana Al-Hadid
OAKLAND, CALIFORNIA Mills College Art Museum and San Jose Museum of Art Simultaneously delicate and monumental, familiar and inexplicably strange, Diana Al-Hadid’s work draws on an astounding range of cultural references, only some of which are visible to the naked eye. Fragments of images from paintings, often of biblical subjects, as well as allusions to literature, history, architecture, and science, all invest her sculpture with a backstory.
Foon Sham
WASHINGTON, DC American University Museum at the Katzen Arts Center Foon Sham’s sculptures evoke a myriad of forms–towers, vessels, baskets, grottoes, mountains, and even tornadoes. Often spiraling upward or outward, his works are built with layered wood, and they are participatory. Since the 1990s, he has created structures that invite viewers into intimate, light-dappled, and wood-scented spaces. Part of the thrill of his work is entering it– a sometimes acrobatic feat when faced with low, jagged passageways.
“Politicizing Space”
NEW YORK Anya and Andrew Shiva Gallery, John Jay College of Criminal Justice “Politicizing Space,” curated by Charlotta Kotik, took as its premise the fact that space can be made political by manmade interventions and used to control human movement and behavior. Kotik emphasized the need to understand how this stratagem works in light of Trump administration policies such as the Mexican border wall.
