on up the mirroring woodpath that is mirroring from / the glaring lake to the right as towards us 1 beautiful wanderer / and over the roots of the mighty trees I strayed / while the clanging sun that is the high midday light / dusted through the vaulted treetops that time in Altaussee
Extending the possibilities of relation.
A new look at the actions, drawings, and sculpture of the late Japanese artist.
Suburban sprawl and craft-store spree meet creeping apocalyptic bleakness.
The eminent artist discusses her materials, “frozen gestures,” and the illusion of form.
“Oh, obviously my leg sticking out from underneath the tray needs to stay.”
Cherubini describes her lush, material-based approach to clay and glaze as “baroque minimalism.” Braman visited Cherubini’s Brooklyn Navy Yard studio as she prepared for her fall exhibition at the Pérez Art Museum Miami.
Susan Richmond’s new book about Lynda Benglis, Beyond Process, examines the work and critical reception of the artist, who moved from Louisiana to New York in 1964. It is not an exhaustive assessment, but in 150 citation-packed pages, Richmond thoughtfully examines the artist’s motives and methods during the past five decades.
Before I met Abraham Cruzvillegas, more than once I’d heard curator Clara Kim mention in passing that he was a special person. This piqued my curiosity.
For the past year I’ve worked in a studio adjacent to Katie Bell’s, at the Marie Walsh Sharpe Foundation.
Mies van der Rohe’s statement “God is in the details” came to mind recently as I was thinking about Tamara Zahaykevich’s work.
Entering the Downtown gallery housing of Phoebe Washburn’s installation Nunderwater Nort Lab you are greeted by a curved wall made of two-by-fours.
R. M. Fischer, the sculptor known in the ’80s and ’90s for creating lamps from wholesale kitchen equipment and various fasteners, has more recently started making work that is wild and funky—vinyl cloth sewn together with ever-so-visible seams.
“That’s an exciting aspect of exhibiting work for me—it’s not the audience we know, it’s the audience we don’t know.” Rachel Harrison
B. Wurtz on the ambiguousness sculptor Charles Goldman aims for between “where his art ends and the rest of the world begins.”
Each Vessel is every vessel, and, simultaneously a unique on in itself.
Anthony Huberman on how Gedi Sibony’s sculptures toy with our assumptions and thus serve the purpose of humor.
Saul Ostrow on how Jon Kessler’s sculptures and installations explore the aesthetic and the role of technology and mass media in our lives.