Sort of, anyway. Yuko Takada Keller makes gorgeous and intricate tracing paper installations that often reflect natural dynamic forms. She does everything on her own, from crafting each piece to hanging them, which seems a massive task, and her care and personal investment make her sculpture intimate and more meaningful.
The size of her works masks the delicacy of each individual piece, like a drop of water is always at risk of evaporating or splashing out of its wave or pool, but can be powerful with many others like it.
Metaphors abound. Keller’s use of paper takes the thing most often used as substrate for other images—or to obscure them—and makes it the focus.
It’s a beautiful look at some rarely discussed but essential members of the fine art world, people who solve the problems and put together ideas for artists who mostly hand over their concepts to produce in physical form.
She uses colors as three-dimensional elements, like layers, in order to create spaces, not as a finishing touch applied on surfaces. Handling colors as a medium to compose space, her wish is to give emotion through colors with her creations…
It’s easy to think you’ll be overlooked if you’re no longer young, the stars of the art world mostly fawned and obsessed over in their 20s. But cheer up, most of us will be overlooked! But if you’re thinking you might be past it, Sheila Hicks is 84. She’s a fiber artist making some of the best work of her life. Yes, she started younger. As Mayer Hawthorne said: You’ll never be as young as you are today. It really makes no difference. The sooner you start, the sooner we get your work.
Sheila’s is beautiful, gloriously saturated, and it makes me feel like I should let my eyes take a nap from experiencing so much visual joy.
We aren’t making art to be a star. That might be a nice bonus, and have fun if you get that. But it’s in human DNA to make art, and if you’re alive you’ve got some of that. Do it. Sheila will be.
Usually, I think of the sublime as a feeling of awe prompted by a vastness or an eternal existence, like landscapes or empty spaces. But there’s another kind, one that turns up unexpectedly, when the mundane is presented in an almost worshipful way.
Such is the work of Mary Sibande, a South African sculptor using fabric, photography, and molds of her own body to create a beautiful and, yes, sublime portrait of domestic servitude that transcends the idea of both occupation and the word, “service.” The trappings are there, but the images and traditions are both transformed into something more.
In her own words, which are much better than mine, she explains the origin of her recent work.
Eisenman works with figures, or more accurately, with the body. She often puts a queer sensibility in her pieces, playing with gender expression and convention. She’s another artist who often puts humor into her work, which I always like to see in fine art.
So much contemporary art takes itself super seriously, and we could all do with occasional wind taken out of our hoity-toity sails. The sculpture, Sketch for a Fountain (2017), is a joyous and life-celebrating piece, something the world always needs more of.
I see echoes of other artists in her paintings, Guston and the realists (usually parodied) are two, historical painters edge in as well. The occasional crudeness—maybe grotesquery is more apt—belies her skill as a draftsperson. Enjoy, Boston.
Kalkou is a Danish sculptor who often works in pure white, as well as making photographs. Her work is, on the surface, very stately, pristine. But there is something of a smirk, or more accurately, an impishness within.
I’m always on the lookout for humor in fine art. Sometimes it’s overt, sometimes it’s obvious. For Sophia, it’s more an undercurrent.
If you can find a subtle, artful humor, you can create air pockets in the seriousness.
There’s something exciting about art world controversy. Even in school, and getting angry about some sculpture or painting or exhibition I deemed “fake,” or “insincere,” or “pandering,” I still enjoyed the engagement those works provoked in me and in my fellow students.
So, anew, is the latest in back-and-forth arguments about the relative worth or meaning of a work. Heatherwick installed “Vessel,” a linked set of staircases, basically, in Manhattan, NYC.
For me, it most resembles one of those sets in sci-fi films where members of an alien tribunal gaze down on humans and condemn them to work in salt mines on some distant planet.
There are lots of sculptures to marvel over at Sailstorfer’s web site, and they range from static, pedestal-bound allegories to machines in motion to indoor-specific to outdoor manipulations. Expectations are twisted and new connections made in brilliant presentations that are simple on the surface but full of ingrained substance.
Take some time and poke around, Sailstorfer is masterfully repurposing things of contemporary society and rethinking their places.
About the Author
Marcus is a maker of things and thoughts. He currently resides in Portland, Oregon.