Nationally known artist Willie Birch is a busy guy. He’s helping to put the finishing touches on the catalog for his retrospective exhibition at the Contemporary Arts Center in January.
Precious they are not. Unlike so many other glass artists, Gene Koss could never be accused of producing works that were in any way frail, overly ornamental or unnecessarily delicate, and that may be a mixed blessing in a medium long associated with the Venetian predilection for frou-frou.
New York-based artist Lesley Dill, whose work is on display at Arthur Roger Gallery through Saturday, is largely responsible for one of the most popular trends in sculpture. Whenever you see ghostly objects made from ephemeral materials such as sheer cloth, papier-mache and dangling ribbons and threads, think of Dill.
With deadpan irony, Jim Richard meditates on one of the modern artist’s main moral challenges: how to reconcile spiritual aspirations and material desires.
The Atlanta Botanical Garden is a lovely place under normal circumstances. For the next five months, it will be a fairyland.
Lesley Dill’s Radiance illustrates her fondness for mantra meditation in which words are repeated, for different words keep showing up on repeated viewings.
Leslie Dill is known for her unusual combinations of word and image, body and text, performance and poetry. She is not alone in undertaking such investigations, but her handling of these questions is unusually skillful. The practice of mixing word and image remains something which is often done clumsily at best and which tends to be, not always unreasonably, dismissed.
Homage to a Krewe by Simeon Hunter, New Orleans Art Review IN HER LATEST piece, Hommage to Ste. Anne, Ersy Schwartz delights, surprises and intrigues us, offering an open invitation to share her very particular vision of one of New Orleans’ most diverse and surprisingly little known Mardi Gras parades. We see an impossibly tall,…
In Mirlitons and Cherry Tomatoes, darkroom perfectionist David Halliday gets playful.
Rule Gallery director Robin Rule has a taste for art with a less-is-more aesthetic, and she has made her place on Broadway Denver’s “minimalist central.” Over the years, she’s showcased first-generation minimalists from New York, including Carl Andre and Mary Obering, as well as local practitioners, notably Clark Richert, the dean of geometric painters in the region. Sometimesthough only rarelyRule takes a risk with an emerging local artist who is doing a contemporary take on minimalism.