abstractsculpture – Painting After Art is Dead

Jim Osman

Hyperallergic says Osman’s care for and attention to his modest materials, the particularities of their identity, is rare in a society where excess is celebrated daily.
#jimosman

Helen Pashgian

One of the members of the California Light and Space movement that emerged in the 1960s, Helen made her mark with translucent abstract sculptures crafted from pigmented acrylic resins.

#helenpashgian

Mike Ballard

is a UK-based artist who likes to use an art historical iconography to work through contemporary materiality questions. He also paints. More

#mikeballard

Isamu Noguchi

has his own museum; opened in ’85 by Isamu (1904–1988), it was the first museum in the United States to be established, designed, and installed by a living artist to show their own work. Located in Long Island City, Queens, the Museum itself is widely viewed as among the artist’s greatest achievements.

#isamunoguchi

Vincent Fecteau

is known for making small, bracingly private constructions out of foamcore and collage elements. As much as his inventions, through maquette-like scale and goofily specific found photos (of towels, toilet-paper holders), investigate the sculptural possibilities and erotic atmospherics of decor, the glue that holds Fecteau’s artless-seeming oeuvre together is a quirky querying of what art is and what it does—of how and why and if art differs from craft. (Bruce Hainley at Artforum is referring above to his work at greengrassi; the artist makes his own statements as well in the article).

#vincentfecteau

Keiko Narahashi

Two Coats has (some of the artists’ own) words about Keiko’s show with Erin titled the energy in the room which made me want to read it (you should, too).

#keikonarahashi

Liz Larner

Artforum says viewers at the Sculpture Center who have only encountered Los Angeles–based sculptor Liz Larner’s work piecemeal across her more than three-decade career might be forgiven for feeling a certain bewilderment in the face of the stylistic and material diversity thathas characterized her admirably restless practice from its very beginnings.

#lizlarner

Ursula’s 3 boxes, below, is featured in the exhibition The Scene Changes: Sculpture from the Collection. In an interview in 2001, von Rydingsvard discussed some of her earliest influences with Dede Young, curator of modern and contemporary art at the Neuberger Museum of Art:

“I come from a long line of Polish peasant farmers, and they were surrounded with wood—wooden homes, fences, domestic implements, wooden tools to farm the land. When you enter any of those houses you’ll see right outside a huge stack of firewood, usually quite beautifully stacked, with smoothly cut ends. There is, I guess, a feeling of familiarity, a feeling of comfort and grace. And at the same time, because of the familiarity, I can really push it around.”

#ursulavonrydingsvard