Sculpture and Production


In 1979, Rosalind Krauss wrote the essay “Sculpture in the Expanded Field,” that defined sculpture in terms of a structural diagram of differing fields. Outside of the dualities between landscape and architecture, not-landscape and not-architecture, and the differing combinations of these quadrants, there were zones of creation that defined what it was that human beings did when they went out across the earth to intentionally build a construction. Continue reading

Artists Reclaim the Commons: New Works / New Territories / New Publics

headernbFollowing The New Earthwork: Art, Action, Agency, published last year by ISC Press, Artists Reclaim the Commons makes the case for art as a driving force behind efforts to reimagine human relationships and the built environment. Far from advocating any one genre of public art, this book features a range of project types, from innovative campus programs and biennials to participatory performances and political protests. Art can take to the streets in any number of ways—regardless of approach, the selected projects all share a willingness to work outside of and/or across discrete public art typologies, using institutional frameworks at will, for instance, or blending high-profile status with small-scale, local activism. Continue reading

Mean Times Make Nice Art | Spiritual and Soothing Art by Sameer Reddy

nowFortune cookie – Good Fortune, 2011, fortune cookie, paper.

Sameer Reddy’s generous and humorous sculptures, photographs and performances are welcome balms against the stresses and hurt of hard times. Reddy’s puckish wit counterbalances the warmth of his works; offering skeptical viewers tart delights while people craving comfort can find hope and relief in the spiritual aspects of his art. Continue reading

It’s not about ‘art’ or ‘design’. It’s about space and a place


Mark Pimlott has worked across art and design over the past twenty-five years, and it hasn’t been easy due to the continued divisions of the two disciplines that used to be unified up until the twentieth century. In fact, I’ve written about Pimlott for both art and design magazines, and the remits and issues always pop up, having to angle his practice in one way or the other to fit either the art or design category. Continue reading

Zhivago Duncan’s Apocalypse Disco Blender

Zhivago Duncan’s sculptures and paintings are cornucopias of color and energy. The Danish/Syrian artist, his art and its attending apocalyptic narrative are big, smart and intense. He slots neatly into the roster of his CFA, his Berlin gallery, which also represents kindred lords-of-chaos: Jonathan Messe, Chris Offili, Tal R and Julian Schnabel. Here, we visit his ungentrified former-GDR painting studio to discuss the next stage in the compelling story of Dick Flash, the last human survivor of the oncoming apocalypse, and the protagonist of his art. Continue reading

In the Studio with Mia Pearlman: Organizing for Success

“I was a late bloomer,” Mia Pearlman, 37, tells me, as she welcomes me to her super-organized studio at the Marie Walsh Sharpe Space Program in DUMBO (Down-Under-Manhattan-Bridge-Overpass), Brooklyn. “Everything has happened in the last five years. I started making cut paper sculpture at the end of 2007, and by the end of the year, I’d had eight shows in three countries.” Last year, Mia was awarded a NYFA Fellowship (New York Foundation for the Arts), and she recently landed two permanent commissions. Continue reading