April/May 2013
Alex Ely – interview: ‘Ultimately the success of any building is how well it’s used and how well it’s stewarded’
Wayne Eager – interview: ‘In Central Australia, I was mesmerised by the bright light and colour in the wide, open landscape’
Art Without Heroes: Mingei
Anselm Kiefer: Fallen Angels
Mohammed Sami: Isthmus
Saul Leiter: An Unfinished World
The Glass Heart: Art, Industry & Collaboration
Acts of Creation: On Art and Motherhood
Antony Gormley – interview: ‘What is made here is a repositioning of the relationship of body to ground’
Click on the pictures below to enlarge
Art Bin: Landyfill Since emerging from Goldsmiths at the beginning of the last major recession, Michael Landy has pursued particular themes across a sequence of big projects.
In the darkest hour, there may be light: Works from Damien Hirst's murderme collection A range of symbols spring to mind when thinking about death: the hooded figure wielding a sickle, the faceless boatman ferrying the souls of the dead across the River Styx, the watery existence ascribed to the souls in Hades' underworld and Purgatory - the quintessential departure lounge where Christian souls gather waiting to pass into eternal bliss.
Dan Flavin Dan Flavin's work is exemplary. Of what? Yet, he preferred to call his works simply 'proposals', rather than sculptures.
Matthew Barney: Drawing Restraint When we speak of executing something - an article, a work of art, a musical composition - we speak of working towards some kind of resolution, of there being a sequence of events causally related and moving forward in time. Sometimes the end product, in the case of art, will stand on its own without a trace of what went before, as if all moments working up to that point have been washed clean, leaving the work immaculate, but in a way, lifeless.
Abstract America: New Painting and Sculpture In his seminal essay