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
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 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
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
Between the years 1960 and 1974 the world of sculpture changed dramatically. Those changes continue to resonate in our world today. The transformation that sculpture went through didn’t necessarily happen in Lawrence, Ks. but Lawrence was where the people responsible for these new outlooks came to present and argue and find out whether their ideas belonged under the banner of sculpture.
From its conception as a tradition laden “how to” conference on bronze casting it morphed into gatherings that touched on lasers, computer generated sculpture, plastics of all sorts, inflatable sculptures, environmental installations, conceptual art, sound installations, kinetic sculptures, artificial intelligence machine sculpture, and on and on. Continue reading
“I have the reputation of being pretty loyal to my artists, regardless of whether they sell or not,” said Andrea Rosen, a Manhattan gallery owner who specializes in mid-career artists. Still, earlier this year, Rosen informed all the artists she represented, around a dozen, that she would no longer be their dealer, that her focus was shifting to representing the estate of Felix Gonzalez-Torres. Dead men pay no rent, but the artists she was talking to did and, out of the blue, they found they had major decisions to make. Who is going to exhibit my work in New York? How do you approach a gallery? How much do I have in the bank? (How long can I go without another dealer?) Continue reading
I spend a lot of time at a nearby beach on Lake Ontario, drawn by wind and wave, and especially by the rocky shingle of the shoreline. More often than not, I begin re-arranging stones, sometimes walking the beach’s length (about a half-mile or so) placing larger stone markers amidst the smaller stuff at the very edge of the surf. Continue reading