Sculpture

An Atlas of Mirrors: Singapore Biennale 2016

Titarubi. History Repeats Itself, 2016; Gold-plated nutmeg, copper-plated wood, nickel-plated wood, burnt wood, sampan, wood, aluminium, copper, soil, light and nutmeg perfume; Dimensions variable. Image courtesy of Singapore Art Museum.

There is no shortage of mirrors and maps in the fifth iteration of the Singapore Biennale. Glass mirrors in Harumi Yukutake’s Paracosmos (2016) curve around the main circular stairwell of the Singapore Art Museum, dazzling the eye as light hits their multiple reflective surfaces. Dozens of mirrors appear in their reflections; dozens more yet, to the power of infinity, show up in the reflections of their reflections. In[…..]

Sarah Crowner: Touch the Tile

Sarah Crowner. Beetle in the Leaves, 2016; Installation view.

From our friends at Guernica, today we bring you an interview with artist Sarah Crowner. Author Elizabeth Karp-Evans and Crowner discuss her show at MASS MoCA (open through February 2017), her art-historical influences, craft, and constructivism. Crowner states, “I think that art history can be a medium that can be manipulated in the same way that a material, like paint or clay, can be.” This article[…..]

Coille Hooven: Tell it by Heart at the Museum of Arts and Design, New York

Installation view of Coille Hooven: Tell It By Heart.
Photo by Jenna Bascom. Courtesy of the Museum of Arts and Design.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Lux Yuting Bai reviews Coille Hooven’s Tell It By Heart at the Museum of Arts and Design, New York. Focusing on material-based[…..]

Fan Mail: Kyle J. Bauer

Kyle J. Bauer. mooring, 2013; wood, steel cable, fiberglass, slip-cast porcelain, paint; 98 in. x 108 in. x 24 in. Courtesy of the Artist.

The sculptures of Kyle J. Bauer have a gamelike quality, a sense of earnest play rarely seen in work made with such formalist rigor. Drawing from maritime navigation and the idea of façade—both as the decorative facing of a building and as a superficial or false front—for primary inspiration, Bauer mixes bright colors and found materials to produce works that feel vaguely familiar, as if[…..]

From the Archives – Beverly Buchanan: Ruins and Rituals at the Brooklyn Museum

Beverly Buchanan. Low Country House, n.d.; wood, 17.75 x 16.75 x 13.25 in. ©Estate of Beverly Buchanan. Courtesy of Jane Bridges and the Brooklyn Museum. Photo: Adam Reich.

On Saturday, millions of women around the world marched to protect their rights and make their voices heard for equality, pouring into the streets and carrying signs with messages both personal and political. In light of the energy their work manifested, today we bring you Lia Wilson’s review of Beverly Buchanan’s exhibition at the Brooklyn museum; unlike the signs and banners from #WomensMarch—many of which are now[…..]

Juan Acha: Por una Nueva Problemática Artística at Museo de Arte Moderno

Hersúa. Model of Sculptoric Space (Maqueta del Espacio Escultórico) 1979. Photo: Ramiro Chaves.

Juan Acha is finally getting some recognition. Try searching for his texts in English and you will find a handful of articles about his importance, but little directly from the man who remains one of Latin America’s most relevant contemporary art critics and theoreticians twenty-two years after his death in 1995. As a remedy, Juan Acha: Por una Nueva Problemática Artística (Toward a New Artistic[…..]

Amy Reidel: Radar Home, 11.8.13 at the Sheldon Art Galleries

Amy Reidel. Tumor Storm, 2016; loose glitter and colored sand on printed vinyl; dimensions vary. Courtesy of the Artist. Photo: David Johnson Photography

Amy Reidel’s solo exhibition, Radar Home, 11.8.13, takes its name from the date her mother received a doctor’s call. A week later, she was diagnosed with multiple myeloma—an incurable though treatable blood cancer. Though her mother has since recovered and is now cancer-free, this decisive moment in Reidel’s personal life unifies the wide-ranging works of painting, digital prints, video, sculpture, and installation on view at[…..]