Powder Room

Detail from Karla Black’s 2014 solo exhibition at David Zwirner, New York. Photo by Maris Hutchinson

Detail from Karla Black’s 2014 solo exhibition at David Zwirner, New York Photo by Maris Hutchinson.

Perhaps one challenge of using everyday materials to create sculpture is revivification: how best to proffer a solution using recognizable materials when a formulaic response will seem cliché or tired?  Some artists create extraordinary work from ordinary objects through accumulation — whereby the same object is used incessantly — and ask viewers to reconsider a known form through refreshed perception. Continue reading

Come Fly with Me

Sculpture Donald Lipski Sacramento Airport

Acorn Steam, Sacramento International Airport

“You have two experiences in an airport,” veteran public artist Donald Lipski (American, b. 1947) recently told an interviewer when describing the viewer experience in an airline terminal. “You are rushing through and hardly see anything. Or you are stuck here and have hours to kill. To try to come up with something to serve both of those situations is challenging and I love that.” Continue reading

3-D Printing: Viable for Sculpture?


Despite the headline-grabbing hype, the promise and the premise, artists remain mixed about the viability and use of three-dimensional printing in their work. Some have embraced this new technology while others are skeptical about certain limitations (namely, scale of objects produced) at this still-early stage of the technology, which is traced to a 1984 patent, but has become more common in the last decade. Continue reading

Lending Color | Aaron Curry


Los Angeles artist Aaron Curry (b. 1972) has taken on his most monumental public art project to date: he’s installed fourteen vibrantly colored metal sculptures throughout the Josie Robertson Plaza at New York’s Lincoln Center for the Performing Arts. Curry was an undergraduate at the School of the Art Institute of Chicago and received his Masters of Fine Arts from the Art Center College of Design in Pasadena. Continue reading

Sound Off | Janet Cardiff

cardiff1-featureAn installation in The Cloisters’ Fuentidueña Chapel demonstrates how contemporary art can invigorate a historic setting. The Forty Part Motet, 2001 is a fourteen-minute sound installation by the Canadian artist Janet Cardiff (b. 1957). Within the twelfth-century limestone apse in this Romanesque space, Cardiff has installed forty human-height high fidelity audio speakers which line the boundaries of the room. The speakers are displayed at eye level on a thin support and summon a figurative presence. Continue reading