Pylypchuk’s art has always been deeply engaged with the most painful parts of life, those that human beings tend to push aside or deny in order to get by.
The Icelandic artist fashions sculptures and wall works from the primary substance of her volcanic and volatile homeland.
A corrective to the sculptor’s self-aggrandizing, The Making of Rodin draws attention to the hidden figures who made his work possible.
In lieu of a gallery, Adam Milner’s sculptures can be seen all around New York City — from a bodega to a dog’s collar.
Funky and elegant by turn, Ann Agee’s ceramic Madonnas testify to an imagination run wild.
Adams’s weavings are the kind that demand to be stood directly in front of, for you to hunker down on your knees, or crane your neck at all angles.
The exhibition Barbara Hepworth: Art & Life is both an examination of some of the best of her artworks and a spasmodic account of her life.
A sense of poetic justice prevails throughout the artist’s first museum retrospective at MOCA North Miami.
Devoted at the Dallas Museum of Art explores the sculptures’ artistic and cultural significance.
Hepper welcomed absurdity in her juxtapositions of the organic and the fabricated, unafraid of making sculpture that could raise a laugh, or an eyebrow.
Cathy Cooper’s sculptures fan out with hoop skirts, oversized cowls, and long bustled trains.
The two objects, now in the archive of the Fundació Miró Mallorca, inspired a six-foot-tall sculpture.