Carded | Henry Klimowicz

feature-kHenry Klimowicz, a sculptor based in Millerton, New York, has used cardboard exclusively in his work since 1986. He creates reliefs and three-dimensional pods, layered topographical studies, decorative wall hangings resembling outsize textiles, and organic forms summoning sea coral. There are discs which are six feet in diameter where the artist pummels, squishes, crimps and “beats up” the stiff paper. Continue reading

Trip the Light Fantastic

James-Turrell-featureVisitors to the Guggenheim Museum this summer look a lot like Sistine Chapel tourists. They are all gazing heavenward.  In Vatican City, they are exalting in Michelangelo’s Creation of Adam fresco. In New York, crowds are rubbernecking at James Turrell’s light installations, especially the artist’s Aten Reign, 2013 which fills Frank Lloyd Wright’s rotunda with successive rings of subtly shifting color.  At both sites reverence, meditation and a profound viewing experience result. Continue reading

Where the Rubber Meets the Road – Jeanne Silverthorne


In a recent column on, critic Jerry Saltz quoted dealer Gavin Brown about the outsize scale of contemporary art reflecting the outsize scale of the art world: “When we are able to fly around the globe in 24 hours, and that is a common occurrence … these large-scale works might be an unconscious attempt to rediscover awe.”  (Never mind that 1960s and 1970s Earth Works were awe-inspiring, supersized, and propagated in the vast landscape of the American West.) Continue reading

Ruth Asawa & El Anatsui: Heavy Metal

Asawa-9-featureCourtesy of the Fine Arts Museums of San Francisco; photography by Joseph McDonald; © FAMSF.

Two museums exhibitions – one in San Francisco and one in Brooklyn – attest to the pliability of metal and how that material can be resilient, refined, and even shape-shifting. Compared to Mark di Suvero’s commanding industrial-scale steel beams or Richard Serra’s imposing sheets of weatherproof steel, two other artists have taken on metal for its ephemerality rather than its endurance. Continue reading

Heads Up


When a sculptor leaves the studio and descends into the basement, her process can be invigorated. For the figurative sculptor Judith Shea (American, b. 1948), a tour of the storage facility of the National Academy Museum in preparation for an exhibition led the artist to confront portraits of female academicians dating from 1846 to 1994 and to create new sculpture inspired by the historic works. Shea has worked in bronze, wood and presently polystyrene across her four decade career. Continue reading

Hidden Nature

Asuka-Hishiki-01-smlIn the deep wintertime – on the eve of a colossal snowstorm – you would not imagine half a dozen artists creating work based on nature in the middle of the Bronx. Yet six artists – Manuel Acevedo, Zachary Fabri, Asuka Hishiki, Maria Hupfield, Paloma McGregor and Linda Stillman – are facing the dormant winter landscape at Wave Hill, a twenty-eight-acre public garden and cultural center in the Riverdale section of the Bronx, and initiating works inspired by their surroundings as part of a six week Winter Workshop Program. Continue reading



On November 13, sculptor Gabriel Orozco (born 1962, Jalapa, Mexico) and art historian Benjamin Buchloh had a public conversation at the Solomon R. Guggenheim Museum in New York. The occasion was the opening of Orozco’s exhibition, Asterisms, which closed at the Museum on January 13.  Orozco’s installation was in two parts: Sandstars displayed collected detritus from the sea washed ashore onto a protected beach in Isla Arena, Mexico; Astroturf Constellation categorized and displayed found objects by color and scale that the artist and his team unearthed from the Astroturf on a playing field in Lower Manhattan. Continue reading