Protecting Artwork in the Event of a Disaster

If people chose where to live based on the likelihood of natural disasters, few would choose to settle the earthquake-prone West Coast or the hurricane-plagued Gulf Coast and Carolinas. However, California and Florida are the first and fourth most populous states, with tornado-alley Texas coming in second. Clearly, artists, art dealers and collectors are willing to take their chances with the environment, and the artworks they made, exhibit or own will have to suffer along.

Suffer, but not necessarily perish if a disaster strikes. There is a variety of precautions that homeowners may take to mitigate the potential for damage: Continue reading

The Shapes of Spaces

sculpture

Installation view, Chicago Works: Amanda Williams, MCA Chicago. July 18 – December 31, 2017. Photo: Nathan Keay, © MCA Chicago

Upon first glance, Amanda Williams’s Reliquary 1: To Unlearned People This May Seem to be Full of Nothing and Void of Humanity looks exactly as described in the title. Cut from sheets of plywood, the piece appears like a small house, constructed from panels painted white, and consisting mostly of void, where the wood has been removed. However, on closer examination, one can see that each sheet of plywood is actually a figure — the rectangular holes represent lots, the wood that remains represents streets, and the entire house is folded from the flat surface of a map. This is a house that has been built from a map of Englewood, a neighborhood in South Chicago. Continue reading

Wrapping up a Residency – Jessica Taylor Hale

Death needs time to grow the things that it will kill.

Think about it.  All of life is a constant cycle.  And when I say life I don’t just mean humanity, I mean life as a whole. Every living organism on this planet is caught in this same cycle of growing, deteriorating, dying, decomposing, and eventually making way for something else to live.  But death doesn’t happen without the growth and growth doesn’t happen without time.   Death needs time.  Death needs time to grow the things that it will kill. Continue reading

Wrapping up a residency – Carole Halle

The top of my sculpture mirrors the shape of the hills of Vermont

We have entered the last month of our residency. Trying to complete the work in progress is now the priority. We just participated in Mana’s open studio by putting together a group show of all ISC Mana residents and two residents from “Grounds for sculpture”. The event was an occasion to see the Brooklyn Rail’s installation “Occupy Mana” as well as a number of exhibitions such as the food installation by artist Song Dong. The open studios drew an enormous crowd, including many people visiting Mana for the first time. Shortly after, we had a studio visit with artist Sean Mellyn. The visit led us to an insightful conversation about our works and being an artist in the current art scene. I was impressed by Sean’s observations and want to keep his comments in mind as I keep moving forward with my work. Continue reading

Emily Neufeld: Rupture

sculpture

Yukon Street

That single word evokes and suggests and even yearns. Stripped down and devoid of any patina of emotion, it of course points to something physical, tangible – something real, something constructed, functional, useful. That might be fine and well for the Gods who have risen above human feeling, but for the rest of us mere mortals it is a word fraught with sensation at the emotional and psychological levels. It’s a word of intimacy, of family and love. Add “less” to it, and all those things are devastatingly ripped away. Continue reading

Paula Toto Blake – Habitar la Ironía

Sculpture

Instalación ´Carnivoras¨, ¨el Museo de los mundos imaginarios, Centro Cultural Recoleta, Curadori Rodrigo Alonso.

Paula Toto Blake es Licenciada en Artes Plásticas por la Facultad de Bellas Artes, Universidad Nacional de La Plata y completa sus estudios con Eduardo Medici, Sergio Bazan, Gumier Maier, Mónica Girón, Jorge Lopez Anaya y Alan Pauls. Fotografías intervenidas, instalaciones, videos, objetos y hasta una línea de joyas inspiradas en sus obras, integran el corpus de trabajos de la artista, siempre siguiendo el hilo conductor de lo que marca su sensibilidad respecto al entorno social que la rodea y sus experiencias personales: los temas, las sensaciones, los intereses emergen y luego el soporte adecuado intenta plasmar esos interrogantes. Continue reading

Tony Cragg is Happiest in his Studio: “Sculpture is at the cutting edge of material investigation.”

Thicket, 2016. Rusted steel. No. 20280. Courtesy Marian Goodman Gallery

Why is Tony Cragg’s art unlike anything anyone has ever seen? What does it “say” to a range of viewers in Teheran, London, Moscow, Berlin, and New York (solo show Marian Goodman, closed October 14, 2017)? Cragg is modest about his global platform, his knighthood, and whatever else takes him out of his studio, where he is bent on his theory of materiality – creating art that enlarges our mindsets by inventing new forms, processes, and uses of materials. In October, 2017, his traveling exhibit opened at Teheran’s Museum of Contemporary Art, one of the largest contemporary museums in the world. In May, 2018, New York visitors and regulars will find Cragg’s monumental sculpture on Park Avenue.  How did Cragg’s vision boost his practice from early temporary spaces – one  in a Jehovah’s Witness basement —  to his present studio complex in a former army base in Wuppertal, Germany? Read on, and also see http://www.tony-cragg.com/ and www.mariangoodman.com/artist/tony-cragg. Continue reading