NEW YORK James Fuentes Lahti uses a range of clays, from dark red to porcelain, and she also varies her sculpting, glazing, and firing methods (which include raku and salt firing). Her approach to building heads and figures seem to reference a wide swath of art history.
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Repetition & Endurance: A Conversation with Mary Mattingly
For Mary Mattingly, art is about life and survival. Her interlinked earth-, water-, food-, and community- centered projects attune us to the planet’s basic rhythms and needs (as well as our own), helping us to understand the complex ecosystems that sustain us.
Elizabeth Turk
NEW YORK Hirschl & Adler Placed in translucent Plexiglas boxes, the three-dimensional furrows are galvanized with the whispers of an otherworldly, impenetrable language, to be navigated without literacy or understanding.
Jeanne Silverthorne
NEW YORK Marc Straus This small, intimate show, featuring 11 cast, monochromatic rubber objects ranging in height from 10 to 75 inches, is conceptually divided between works that are simultaneously realistic and abstract and those that are completely figurative and, in a wizardly way, uncannily lifelike.
Francesca DiMattio
LONDON Pippy Houldsworth Gallery Aside from the obvious Greek reference, the caryatids, despite their detail and ornament, also gesture, in some respects, to Eduardo Paolozzi’s collaged sculptures, especially from the 1950s, and Huma Bhabha’s much darker creations.
Dynamic Protagonists: A Conversation with Carola Zech
The Argentinian sculptor Carola Zech has spent over 25 years expanding the limits of sculpture, installation, and context. In her often site-specific works, she thinks about space and all its actors—especially the body of the viewer—as a nucleus that grows or contracts with the interaction of the parts.
Fluid Circulation: A Conversation with Holly Hendry
Systems, patterns, strata, bodies, and machines are among the preoccupations of British sculptor Holly Hendry. Turning things inside out and breaking their inner workings down into individual, often corporeal, parts, she reveals boundaries that are often more porous and permeable than we might imagine.
Getting Hyper-Real: A Conversation With Carole A. Feuerman
Serena is surviving on the median between uptown and downtown traffic on Manhattan’s Park Avenue at 36th Street, just a few blocks below Grand Central. There, she dwells in flawless, larger-than-life quiescence, her luxurious long fingers caressing the shiny blue inner tube that keeps her afloat atop a stone podium.
Continuous Return: A Conversation with Nika Neelova
London-based Nika Neelova excavates new perspectives from found objects and reclaimed architectural materials, transforming them into intriguing forms filled with memories and echoes of history.
Lydia Rosenberg, Katie Bullock, and Phillip Andrew Lewis and Lenka Clayton
PITTSBURGH Mattress Factory Two sparse rooms contain various hybrid objects, including uniquely constructed dustpans, shopping bags, shredded books, brooms, mops, and buckets. These are the fundamental forms for Rosenberg’s fictional character Annette, an artist with a day job, who can only spend eight hours a week in her studio because of work obligations.
