Summer is blockbuster time, so in late June…see the full review in October’s magazine.
October 2009
October 2009
Gedi Sibony
St. Louis Gedi Sibony’s recent exhibition at the…see the full review in October’s magazine.
I Want Your Imagination: A Conversation with Kris Martin
Time is the primary motive in the practice of Belgian conceptual artist Kris Martin. Convinced that material can carry thoughts, Martin uses well-known or everyday objects in a defamiliarizing way. For instance, in Mandi VIII (2006), he gives us a Laocoön in which the source of pain has been removed, leaving the three figures to struggle with an invisible,
53rd Venice Biennale
Venice Daniel Birnbaum, director of the 53rd Venice Biennale…see the full review in October’s magazine.
Nina Levitt: Re-presenting Enigmatic Women
Inspired by the heroic women who worked in intelligence during the Second World War, Nina Levitt has produced a trilogy of related works, beginning with Little Breeze (2002–04), an installation based on Camp X, a secret wartime facility for training intelligence officers in Oshawa, Ontario.
Mike Womack
New York In his recent show, Mike Womack further…see the full review in October’s magazine.
Xiang Jing
Shanghai There is no easy way to approach Xiang Jing’s work…see the full review in October’s magazine.
Random Observations Regarding Futurist Sculpture
Futurism is 100 years old this year, yet there is barely a sign of the rambunctious movement having mellowed with age. Exhibitions in Paris, Milan, Venice, and London celebrating the centenary have only added to the many open questions that still remain to be answered.
Physical States of Being: A Conversation with Carole Feuerman
Carole Feuerman has been working and exhibiting at “full speed ahead” for four decades. Over the last 10 years, with the growth of international biennials and art fairs, her international reputation has grown by leaps and bounds.
Thinking Through Objects: Malia Jensen
Malia Jensen has emerged from a generation of younger sculptors who express content through a language of hybrid objects, rather than continuing last century’s aesthetic exploration of art about art. Her recent exhibition “Conjunctions,” at the Richard Gray Gallery in Chicago, forged adroit combinations of materials and meanings to fabricate sculpture of physical, conceptual, and
