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.
Melvino Garretti describes himself as “more of an anthropologist than an artist.”
“The Bronx Comes to Los Angeles” presents Ahearn’s and Torres’s works side by side, and it is ultimately Torres’s sculptures that stand out.
In “Shaping the World: Sculpture from Prehistory to Now,” the issue crying out to be addressed is: where will sculpture go next?
Skinner imagines the jury-rigged technology that would enable survival in the wake of apocalyptic climate disaster.
Much like her bookworks, Auerbach’s catalogue S v Z deserves to be examined as a sculptural object before we unfold its cover and consider its contents.
For all the sameness of material and process, Kobayashi was able to attain a wide range of nuanced feeling and subtle pictorial conventions in his tin artworks.
When used as wayfinding landmarks or burial mounds, piles of stones can have an air of mystery about them.