Fusing Modernism with elements of tribal art, San Antonio artist Danville Chadbourne has created a vast, sprawling world of work that uses simple organic shapes to evoke psychological and spiritual states. His serene sculptures resemble the relics and totems of a lost or unknown civilization, combining a modern aesthetic with primitive materials, mostly clay, wood,
Since the fall of communism in Hungary in 1989, Mária Lugossy has been at the forefront of a public art revolution. Discriminated against because she would not join the Communist Party, she flouted pre-1989 authority with glass, bronze, and stone sculptures that treated proto-feminist themes such as the origins of life, conception, and birth, as
Sydney-based Nola Jones has been making sculpture for five decades now. Her work of the last five or six years represents a striking synthesis whose eclecticism is vividly alive. In her current series of totemic columns, she places separate elements on top of each other.
Gelah Penn’s approach to sculpture is distinctly existential in character. In a career trajectory that moved across the country and back, from painting to sculpture, to drawing-like forms installed in architectural space, her progress as an artist has been driven by conscious decisions to step outside of convention.
Whether full-blown installations or succinct sculptures, Margaret Meehan’s works embrace a unique sense of narrative. In a retroactive turn of media, applying filmic concerns to the sculptural, they seem like stills taken from longer stories. Meehan’s installation Innocence and Otherness (featured in “Pretty Baby,” a 2007 Modern Art Museum of Fort Worth exhibition examining the
Entering into Liam Gillick’s “Three perspectives and a short scenario” was like diving into a heavily footnoted seminar presentation. The single large exhibition space was dark, divided into sections and hallways by 10-foot-high slatted screens and dark gray industrial carpeting.
During the summer of 2009, four large-scale bronze sculptures by Robert Melee bubbled to life in New York’s City Hall Park, their rough accretions materialized into hulking masses. Oozing rivulets of multi-colored enamel paint like queasy marbleizing, these abstract forms appeared extravagantly slimed or covered with flowing wounds.
Lesley Dill’s sculptures made an impression on me some years ago at Graphic Studio in Tampa, particularly a tea-stained, paper dress that popped outward to become three-dimensional. A large traveling exhibition of her work—recently shown at the Saint Petersburg Museum of Fine Arts and on view at the Columbia Museum of Art in South Carolina
Thomas Houseago’s expressionist sculptures, part of a renewed interest in figuration, are popping up everywhere, in one-person and group exhibitions in Brussels, Amsterdam, Milan, London, Glasgow, Paris, Berlin, Los Angeles, Miami, New York, and Marfa. This fall and winter, both the Rennie Collection in Vancouver and Modern Art Oxford are hosting shows of his idiosyncratically
For nearly 75 years, the Sculptors Guild has made…see the full review in November’s magazine.
