Post image for Receivers and Transmitters: Michelle Segre’s Recent Sculpture

In Michelle Segre’s sculpture “Self-Reflexive Narcissistic Supernova” (2013), a mushroom cap — made of wax and five feet in diameter — lies on its side in a provocative position evoking a horn, ear, and vagina — a form that receives and/or transmits.

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Post image for Courtauld Institute Attempts to Catalogue Every Work of Gothic Ivory Art

The last time anyone attempted to catalogue all known Gothic ivory sculpture was a three-volume publication from a French scholar in 1924, but now the Gothic Ivories Project at London’s Courtauld Institute of Art is taking a 21st century stab at it with an online database.

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Post image for The Beauty of a Sculpted Experience at Storm King

The Hudson Valley has a special kind of light and soaring nature, with its elevations and valleys illuminated with sun, starlight, and storm. At the Storm King Art Center with its installations of giant metal sculptures that seem alien on the meadows, or land art that warps the earth, the most interesting aspect is perhaps how this nature is made unnatural while still celebrating the beauty of the terrain.

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Sesame Street Explains Sculpture

by Kyle Chayka on April 18, 2013

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It takes a lot of work to carve a sculpture, but apparently muppets have all the strength it takes. On the April 18 episode of Sesame Street, “sculpture” was the word of the day and the little red fuzzball Elmo teamed up with chiseled Mad Men star Jon Hamm to give viewers a quick history of the medium, from Rodin to David Smith.

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Post image for Michelangelo’s David Is Too Hot for Japan

Okuizumo, Japan, stands paralyzed by an icon of Western art. A 16-foot-high replica of Michelangelo’s triumphant David sculpture was installed in the middle of a public park in the southern Japanese town, but locals think it might be a little bit too public.

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Post image for The Goofy Physical Ways We Interact With Digital Technology

There’s a post (that I can no longer find, unfortunately) on the hilarious Tumblr Sexpigeon (SFW, I promise) that features a man on the street, slouching over his smartphone, face angled far down, features invisible. The caption, something to the effect of: “What a brave new world for posture we live in.” The advent of portable technology has brought with it a range of new behaviors, both virtual and physical. Two recent projects take on the IRL side of how we interface with our contemporary devices.

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What Makes a Blockbuster?

by Thomas Micchelli on December 15, 2012

Post image for What Makes a Blockbuster?

After a plate of lukewarm gemelli in the Metropolitan Museum cafeteria, an out-of-town friend and I wandered haphazardly into the lower level of the Lehman wing, where the exhibition Bernini: Sculpting in Clay has been in residence since early October. The show, which consists primarily of terra-cotta studies and drawings that Gian Lorenzo Bernini (1598–1680) made for his Baroque marble extravaganzas, wasn’t at the top of my list, especially on a Friday night with an hour left to go before the museum closed, and especially after reading The New York Times review by Ken Johnson, who called it “an important exhibition, insofar as it establishes a scholarly baseline for the study of Bernini terra-cotta work.” Not exactly a line that quickened the pulse.

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Post image for Waste Not, Want Not: Phyllida Barlow’s New Work

As my colleague Thomas Micchelli pointed out in his review of siege, Phyllida Barlow’s exhibition of sculpture at the New Museum earlier this year, she has something in common with Hans Hoffman. Both were teachers who have an impressive roster of distinguished students. In Hoffmann’s case, it included Lee Krasner, Helen Frankenthaler, Alfred Jensen and Red Grooms. Barlow’s students include Douglas Gordon, Steve Pippin, Tacita Dean and Rachel Whiteread. However, whereas Hoffman’s students eclipsed their teacher, this is hardly the case with Barlow.

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An Artist Creates the Ruins of America

by Ryan Wong on December 7, 2012

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Danh Vo’s objects are unremarkable without history. We can debate until Miami freezes about over the place of artworks that don’t do much visually, that make references so opaque you have to a) be a specialist or b) have the work explained to you by an outside aid. Vo’s challenges to our assumptions about art are as frustrating as they are exciting.

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Post image for Can Lin Tianmiao Break Free of Gender?

The first survey of Chinese installation artist Lin Tianmiao at Asia Society, called Bound Unbound, could not have a more fitting title. The artist’s sartorial sculptures, grotesque bodies, and fibrous compositions illustrate an artist bound by cultural convention creating art unbound in technique and concept.

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