LOS ANGELES The Geffen Contemporary at MOCA In “OPEN,” Eliasson encouraged careful looking as a means to “sense our way into” larger systems. That he mostly missed these goals didn’t dampen the possibility for enjoyment of his often spectacular installations, or his commendable ambition.
To say that “Ai, Rebel: The Art and Activism of Ai Weiwei,” the artist’s current retrospective at the Seattle Art Museum, is timely would be an understatement.
PARIS Fondation Cartier pour l’art contemporain Olga de Amaral’s long overdue survey exhibition (on view at ICA Miami through October 12, 2025) reflects a recent wave of renewed interest in fiber art, as U.S. and European museums re-evaluate the ties between abstraction and woven textiles.
LOS ANGELES Blum Gallery Kazuo Kadonaga’s work seduces almost instantly. There’s a palpable glow coming off the waxy surface of wood, the matte sheen of washi paper, the tonal gradations of scorched bamboo, and the glossy finish of melted glass.
Every time Erwin Wurm produces a sculpture from a real object—cars, shoes, pieces of clothing—he creates something strange and wonderful, inviting us to consider different possibilities for the ordinary and familiar.
Recipient of the 2025 Lifetime Achievement in Contemporary Sculpture Award It is a good time to position the work of Albert Paley within the Modernist canon, and not only because for decades he has been understood internationally to be one of the most important artists whose workis centered on metal.
Can art activate intuitive, collective problem-solving? The collaborative projects of Iván Navarro and Courtney Smith, working together as Konantü, seek to answer that question, spanning media, disciplines, and contexts while honoring their roots in sculpture. Each artist brings a particular set of skills to this dynamic partnership.
For every artist who has earned and sustained widespread critical acclaim and captured devoted international attention, there comes a moment when the poetic consideration of their work within a larger, longer historical framework arrives: More than merely converse with, how might they be considered within the ambiance of the masters and monuments of eras past?
From the moment I first encountered Emma Jääskeläinen’s sculptures, I made a mental note to follow her progress. In works such as According to Shadow and Creator (New Potato and Olive) (both 2017), she mixes elements large and small, hard and soft, mineral and organic to create bold, visually poetic, and appealingly absurd juxtapositions.
