Alma Allen's United States pavilion at the Venice Biennale says nothing, does nothing, means nothing, and goes nowhere. The pavilion features a series of amorphous, nature-inspired sculptures - all untitled - made of bronze, wood, and stone. A breeze is something refreshing, nourishing, mood-altering. However, I left Allen's pavilion feeling the same as I did before. Nothing.
The bed becomes a site of creation, desire, and condemnation, exploring the shift of procreation to hedonism that exposed deep cultural anxieties surrounding female sexual agency and autonomy.
"This sculpture creates a friction with the surroundings here in New York. It's not sleek like everything else you can see here. It offers a hint to the public that temporality is not necessarily a straight line, that things can come back almost like in a wheel."
Marsden's introduction is very lucid, setting out the development of sculpture at court; royal involvement with sculptors; displaying sculpture in galleries, state rooms, libraries and gardens; and stewardship of the collection.
Pilar Zeta builds environments like dreams that feel like stepping into a thought mid-formation. Her sculptural works take shape in the form of portals and objects that invite direct engagement, as visitors are invited to walk through them and notice subtle shifts in perception.
"It's bizarre to watch people in this way - even in gay cruising areas you wouldn't stare at other bodies this intensely. Now, whenever I go to a concert, especially at the Berliner Philharmonie with its encircling seating, my gaze hovers over the audience as well as the stage."
When I finished art school, I thought I was going to do monumental sculpture, big works, and I did for a while. But what I started loving the most-actually always loved the most-was the start, where you figure out what you want to say.
"In a time of unprecedented division, escalating conflict, and economic turmoil, President Trump focused on what truly mattered: remodeling the Lincoln bathroom in the White House," reads a bronze plaque affixed to the work.
Robert Therrien's 'Under the Table' is a 10-foot-tall sculpture that captivates visitors, inviting them to experience its scale and intricacies from below. The piece exemplifies Therrien's ability to transform everyday objects into monumental art.
By installing my sculpture Vertical Highways V03 in front of Rockefeller Center, I want to initiate a dialogue of art and architecture that resonates with the urban history of New York City.
I have virtually no idea what the finished piece will look like until I actually begin working with the wood. As a result, the form often emerges as I carve, and I frequently change my plans midway through the process. Naturally, I keep the many failures a secret.
I was nine years old, and I felt like I lost that childhood. I felt like I became a kid when I looked at a TV this morning. Burn that image into your mind, his mother told him, knowing the city would never be the same. It was 2003, and mere days later, the United States and its allies would launch their invasion of Iraq, raining airstrikes down on the city.
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