Paine and the architectural team discusses Maelstrom, the most recent of iconic stainless-steel tree installations, as well as his highly personal take on organic forms and machine-made art.
In Chile and beyond, Guilisasti is known as both artist and co-founder of INCUBO. A proponent of the precarious, her recent work links Judd’s structures in Marfa to the Chilean phenomenon of short-term yet recurring summer beach squats.
Blake and Harrison discuss notions under threat of extinction: self-expression, art not-for-reproduction, and being engaged in the here-and-now. Harrison’s new work is currently on view at Greene Naftali.
Through their loaded neon signs, lock picks, and bricks wrapped in book covers, the art duo Claire Fontaine prompt viewers to ponder the politics of action and inaction. Their show at Metro Pictures closes December 17.
Rocket science: Roman Signer transforms familiar objects into elemental magic with earth, wind, fire, and water. Poet Armin Senser charts the alchemy.
B. Wurtz on the ambiguousness sculptor Charles Goldman aims for between “where his art ends and the rest of the world begins.”
Lovell takes on Leslie Hewitt’s smart and elegant work that probes the boundaries of photography and sculpture. Sudden Glare of the Sun, Hewitt’s new show, is up at CAM St. Louis through December 30.
Ghanaian sculptor El Anatsui’s “gawu” artwork is on view now at the Brooklyn Museum.
Betsy Sussler on how Rachel Foullon’s paper sculptures explore concepts of home and archeological history.
An artists on artists text on sculpture artist Thiago Rocha Pitta by Botika, accompanied by several photographs of mixed media sculptures and film stills by Thiago Rocha Pitta, the first titled Uma Trilogia.
A artists on artists text on sculpture artist Jarbas Lopes by Luis Andrade, accompanied by three photographs of sculptures by Jarbas Lopes, the first titled Troca- Troca (Switch- Switch).
An artist on artists text on Laura Lima by Cabelo, accompanied by several photographs of sculpture pieces by Laura Lima, the first titled Gala Chicken.
Muniz, master of turning life’s detritus back into life itself, speaks with the visionary design team known as the Campana Brothers on metamorphosis.
Gomes reinvents beauty with insignificant things — precarious objects on their way to disappearing. In correspondence with the master builder of spirit, Ernesto Neto.
Rochelle Feinstein on how contradictory values and techniques drive the paintings and sculptures of Pam Lins.
Carmen Boullosa talked with Gabriel Orozco about his “doll of spheres” in 2007. Orozco’s latest work is now at Marian Goodman Gallery through October 10.
Multimedia artist Tony Oursler in conversation with musician and writer Alan Licht on Oursler’s spectacular sound, video and sculpture installations. This article is only available in print.
Painter Jane Dickson speaks with her friend, Los Angeles sculptor Liz Larner about the metaphysical expressed in the always-bold physicality of Larner’s work.
Keith Mayerson on how Randy Wray’s paintings and sculptures channel a Southern gothic sensibility through a 21st-century surrealist technique. Mayerson is currently showing work at Derek Eller Gallery.
Using principles of architecture, design and public sculpture, Pedro Reyes blends the realms of utopia and function. Reyes’ new show opens at Lisson Gallery on March 27.
Critic and curator Downey queries the 2004 Turner Prize nominee about the excess of carnival and its inversion of power. An exhibition of Shonibare’s latest work opens February 16 at James Cohan in New York City.
Saul Ostrow on how Jon Kessler’s sculptures and installations explore the aesthetic and the role of technology and mass media in our lives.
Anthony Huberman on how Gedi Sibony’s sculptures toy with our assumptions and thus serve the purpose of humor.
Laurie Simmons on the fun, worldly sculptures of John Newman.
BOMB architecture editor Carlos Brillembourg parses the varied subjects and themes of artist Guillermo Kuitca’s 1991 MoMA show.
Carroll Dunham on the consistent exploration of natural versus abstract form present in the Core Sample sculptures of Mel Kendrick.
Sue de Beer on the predator/prey experience that haunts the work of Banks Violette. This article is only available in print.
Since the late ‘80s, Olafur Eliasson has been evolving a body of “objectless” work ranging from discrete installations to museum-wide environments, employing shifting frames of reference that are shared with science, psychology and architecture.
David Humphrey on the oversized rough-hewn puppets constructed by Anne Chu.
Christopher Cozier on Nicole Awai’s elastic concept of history, culture, and perspective.