Mold-making and photography have an ambiguous relationship to whatever they reproduce. They can deliver the most faithful rendition of a given model, but it is precisely this similarity that makes them extraordinary, unreal.
Kasten’s photographs capture the fleeting interplay of color, form, and light in the geometric objects she assembles. She spoke to Leslie Hewitt about the expansion of their shared medium.
Navigating the concentric interiors of the Glass Pavilion at the Toledo Museum of Art, the building unfolds along a serpentine walkway. Through the museum’s glass walls, the view opens uninterrupted.
Olivia Booth and Rebecca Norton’s works address the body directly by involving us in an involuntary relationship to interiority, in which it’s inseparable from the exterior—surface, skin, or the space in front of either.
William Katavolos’s career as an avant-gardist spans 60 years, culminating in his ongoing research into aquatecture, or liquid architecture. Colleague Deborah Gans places his vision within the trajectory of architectural history.
Aesthetically informed by an awareness of the limits of language and the doubt that this instills, Jiménez investigates the way language orders experience and how concepts are formed, the irreconcilability between the logic of articulation and sentience.