Korean sculptor Lim Dong-Lak, who divides his time between Busan and Paris, creates large-scale stainless steel forms that occupy time as well as space and affect the light in their environs. Last summer, nine of his sculptures (dating from 1996 to 2009) appeared on the Lido outside Venice.
Born in County Sligo, Eileen MacDonagh studied art at the Institute of Technology, Sligo and Limerick School of Art. In 1982, she attended an International Sculpture Conference in San Francisco, where she was first introduced to the idea of sculpture symposia.
Sometimes an artist’s use of materials is in itself political, as in the case of Nnenna Okore. Born in Australia and raised in Nsukka, a town in southeastern Nigeria, she explores a range of artistic materials and influences, creating installations and sculptures made of clay and found as well as handmade paper.
Lucía Vallejo began her career as an art historian. The subject of her research, Giorgione, foreshadowed the path of her later artistic trajectory, which follows a deep interest in symbolism and late Renais?sance and Baroque color.
Washington DC Katzen Arts Center at American University The two-story atrium of the Katzen Arts Center, aggressively bisected by a large staircase that leads to the upper galleries, has always been a challenge for exhibiting painters and sculptors.
Los Angeles Marc Foxx Now hitting mid-career and mid-stride, Jason Meadows is a sculptor’s sculptor who often invokes the lexicon of 20th-century Modernism with his skilled choreography of volumes and materials while emphatically embracing a postmodern love of cultural pastiche.
Los Angeles Samuel Freeman Gallery Blue McRight’s recent exhibition, “Quench,” featured a semi-installational aggregation of nearly 50 individual pieces. These objects emerge from a loosely linked set of concepts involving nature, personal experience, and environmental reality, following Deleuze and Guattari’s notion of “rhizomatic thinking.”
Los Angeles Leslie Sacks Fine Art Blue McRight’s recent exhibition, “Quench,” featured a semi-installational aggregation of nearly 50 individual pieces. These objects emerge from a loosely linked set of concepts involving nature, personal experience, and environmental reality, following Deleuze and Guattari’s notion of “rhizomatic thinking.”
Rome MAXXI Much has been written about William Kentridge’s epic installation, The Refusal of Time, which was produced for Documenta XIII. After Kassel, the piece was reconfigured and moved to MAXXI, Rome’s still relatively new Museum of the Art of the 21st Century… see the entire review in the print version of July/August’s Sculpture magazine.
London Tate Modern When I walked into Tate Modern for Damien Hirst’s retrospective, I was very positive and full of expectations, but I left with contradictory thoughts—not about Hirst’s work per se, but about the value of an anthological exhibition devoted to his work.
