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.
Uncertainty is important, and not just because we are living in uncertain times.
Shiva dances a dance of sheer bliss.
In the second volume of a definitive biography, the art critic Jed Perl recalls how the innovative artist revolutionized sculpture.
“MARFA,” a wall piece by Greg Colson, is a street map in the purest sense, and highly impractical.
It’s all slightly depressing that we can’t seem to get rid of the Warhol itch.