New York Fitzroy Gallery In “Ain’t Dead Yet,” Drew Conrad’s iconography of turned wood, Victorian printed wallpaper, and LP record albums evoked an indeterminate past. Indicative of prewar architecture, wood lath and plaster become vehicles for sculptural communication, especially as Conrad strategically clusters, exposes, and breaks them down.
September 2013
Gathering of Waters, An Invitation to Know Your River: Basia Irland
How can art convey the interconnectedness that is so central to ecology both as science and cultural theory? And how can artists nudge viewers to become active participants, not just onlookers or consumers of beautiful images?
Charting Time and Space: Michelle Stuart
In a quiet corner of Michelle Stuart’s SoHo studio, a sculpted Buddha presides over a Wunderkammer of curiosities. Pre-Columbian sculptures, African ceremonial beads, a seaman’s log, rocks, and odd pods comfortably cohabitate with other exotic oddities.
Competing Against Reality: A Conversation with Urs Fischer
On a March afternoon, while preparing for a mid-career retrospective, Swiss artist Urs Fischer is modeling a bust at the Museum of Contemporary Art’s (MOCA) Geffen Contemporary in Los Angeles. Assorted clay sculptures—crocodiles, hands, ships—cover the floor.
Concentrated: A Conversation with Johan Creten
This conversation took place in March of 2010 at Johan Creten’s “Dark Continent” exhibition at Galerie Emmanuel Perrotin in Paris. Having made fundamental breakthroughs in the field of stoneware in terms of virtuosity, imagery, and scale, the Belgian artist, who refuses to sit still, is now displacing the boundaries of what is possible and acceptable
