NEW YORK Karma Still making work at the age of 94, self-taught sculptor Thaddeus Mosley serves as an outstanding example of why Black Lives Matter. Although well known in the Pittsburgh area, where he has been exhibiting since 1959, his work has only recently gained a broader audience, due in part to his inclusion in the 2018 Carnegie International.
Andres Paredes, who was born in Argentina’s Misiones Province and graduated from the Faculty of Arts of the National University of Misiones, has made his home region a distinctive factor in his work. Driven by a systematic search to keep memory active by reworking the past, he creates an intimate imaginary world in works that
Guy Michael Davis and Katie Parker have collaborated as Future Retrieval since 2008. In 1999, after meeting as undergrads in ceramics at the Kansas City Art Institute, the pair earned graduate degrees from Ohio State University; they now lead the ceramics department at the University of Cincinnati’s College of Design, Architecture, Art, and Planning (DAAP).
MILAN Pirelli HangarBicocca HangarBicocca does things with an incredible monumentality, and under the stewardship of Vicente Todolí, the scale appears to have gone through the roof. Last year, the aircraft-hangar-size space hosted works by Mario Merz, which still appear as alien as they do innovative.
THE HAGUE Museum Beelden aan Zee The survey demonstrated that Visser (1928–2015), one of the Netherlands’ most important 20th-century sculptors, was guided by a deep-seated need to make things, that he employed a remarkably diverse range of themes, materials, and techniques to actualize his ideas and observations, and that he rarely—if ever—acquiesced to artistic trends.
Maarten Vanden Eynde’s work travels back from the future. Fast-forwarding 100 million years or so in the role of a forensic archaeologist, he digs up archaic strata of earth—a smelted stew of plastic, metal, and organic gook cooked by industrial pollution.
BROOKLYN Undercurrent Gallery “Myoptic,” a sculptural video installation by Carl Lee, contemplated the intricate twining of spectatorship, memory, and technology. The title, a play on the word “myopic,” strongly underscores this notion: “myopic” means nearsighted, not being able to see the wider view without some sort of corrective lens; “myoptic” seems to indicate a more personal spectatorship, the nostalgic lens through which we each, individually, experience the past.
“I am interested in sculpture as the medium that can teach us what space is and why space is important. I come at this because I see each of us as being an awkward, bumbling biological body that is also inscribed by language. This friction between being a physical spatial being and also a thinking, relational spatial being is what generates my work.”
Agricole, the suspended plow form, comes from the French for “agriculture.” Human beings didn’t start out in cities. Cities originated as places of exchange, and now they’ve gotten to the point where something that used to happen once a week or once a month—the trading of goods and services—becomes the dominator.
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.
