Thursday, April 23rd

Mindy Shapero

Inversion (Seventh Wonder) 2007-08. Wood, gold leaf, acrylic, and color aid paper strips. 20 x 10 x 9 inches.

(Image information Unknown)


Mindy Shapero is includes a fantasy element to each of her pieces. Each piece asks the viewer to look at the mundane in a different way.

For More Information:

Thursday, April 16th

Christo and Jeanne-Claude

Christo and Jeanne-Claude
The Umbrellas, Japan-USA, 1984-91
Photo: Wolfgang Volz
© 1991 Christo

Christo and Jeanne-Claude
The Gates, Central Park, New York City, 1979-2005
Photo: Wolfgang Volz
© 2005 Christo and Jeanne-Claude


Christo and Jeanne-Claude have created collaborations since 1958. They use fabric to wrap familiar objects and blocking viewers from familiar views, in order to create a feeling of displacement. Fabric also causes these familiar features to be decontextualized, which produce unpredictable element in each work. For them, the temporality of the work is important. A piece is not considered complete until the installation has been taken down. I am interested in their work because of their ability to decontextualize ordinary objects and views. Simply by wrapping or draping fabric the viewer’s interaction with the space changes. They use a simple method to manipulate the space and create a dramatic effect.

More information can be found:

Thursday, April 9th

Veronika Horlik

Coppice, 2011. sculpture: 122 cm x 61 cm, image: 71 cm x 97 cm.

Projection, 2010. 305 cm x 92 cm x 203 cm.

Veronika Horlik is a Montreal based artist who uses her interest in reforestation to influence her ceramic works. She sculpts large stumps and boulder forms from clay to mirror the broken-down, burned forms that remain after reforestation. In nature, these charred forms appear out of place to standard perceptions of luscious foliage; it is almost surreal. Horlik is drawn to these charred forms because she believe that they mirror human condition: moments of dispair are only intermediate. Her artistic vocabulary is very interesting. Horlik states, “the sculptures in the BURN series (2009 – 2013) have the potential to free themselves from the fixed conditions that hold them in place: objects tilt at sharp angles, wheeled structures are ready to change position, and heavy elements are held in place by detachable load-binding straps. This immanent possibility for movement reminds us that in our hands we hold the potential for change and renewal at any moment.” Her balance of organic and geometric forms successfully create a whimsical tone, and the artist’s use of straps, wheels, and size create a carefully planned precarious sensation. Additionally, color is used in moderation to emphasize particular elements of each piece and is balanced by a range of neutral hues.

For More Information:

Thursday, April 2nd

Nicole Cherubini


Lazy River
Earthenware, glaze, pine, acrylic paint
23 x 11 x 11 in

Morning Star
Earthenware, stoneware, porcelain, glaze, MDF, acrylic, oil paint
57 x 31 ½ x 15 inches

Nicole Cherubini uses mixed media to create her sculptures. She states that by not glazing the entire ceramic piece, her work  is viewed as a sculpture, as opposed to a pretty and functional object. Clay, for Cherubini, is a material that inhabits both a 2D and 3D realm. It shows the history of the making and the artist’s hand. Also, Cherubini lets the materials in her work speak for themselves, so there is a natural quality to them. I am a big fan of Cherbunini’s artwork. I am interested in her combination materials, color, and form. She creates organic clay forms that are placed with geometric wood structures. Sometimes the color is very bold, but in other pieces there are subtle tints. The application of the glaze and paint is also something I like to consider.

For an Interview with Nicole Cherubini:

Thursday, March 26th

Imi Knoebel

Kartoffelbild 3, 2011. acrylic on aluminum
4 parts, 288 x 399 x 8,5 cm.

Vier Bilder. 1997.

Formalist artist Imi Knoebel creates pieces that combine color and geometric shapes. These pieces are reminiscent of Russian work form the early 20th century, and they question the traditional compositing and pictorial meaning. In the 1980’s, Knoebel began incorporating found objects into his work, such as rusty metal, old wood, or used hoses. These pieces are aesthetically pleasing, due to their layering and simplicity of shape. They have an architectural feeling, which is only emphasized through the artist’s incorporation of found objects.

More information can be found:

Thursday, March  11th

Erica Vogt

Venue: Overduin and Kite, Los Angeles. Exhibition Title: Geometric Persecution. September 12 – October 23, 2010. 

Erika Vogt Stranger Debris Roll Roll Roll 2013, installation view at the New Museum, New York NY. Courtesy of Overduin and Kite, Los Angeles.

Vogt’s work is particularly interesting to me because of her layering of materials and the multiple layered environments. She produces a variety of different forms of artwork that range form sculpture, prints, and video. The installation at The Calder  combines sculpture, video and sound to form a single unit that fills the entire gallery. Since 2012, Vogt has been incorporating ropes and pulleys into each of her installations. These components make the work respond to the individual architecture of the spaces without being site specific.

An interesting interview with Vogt can be found here:

Thursday, March 5th

Michelle Segre

Michelle Segre, “Powers of Tenuous” (2014)

Still Life with 3 Forms. 2010, Foam, metal, plaster, papier-mache, acrylic, beeswax & Plasticine, 32″ x 20″ x 29″

Once Upon a Time the End, metal, acrylic, paper maché, clay, thread, wire, plastacine, plastic, rocks. Courtesy of the artist and Derek Eller Gallery

Segre’s work focuses on creating works based on models of the brain, and they appear to rely less on biology and more on influenced by superstition and astronomy. The materials are combined in a playful manner, which relate to an elementary student’s science project. The treatment and combination of materials also evokes an balance between whimsical and industrial qualities. The pieces have a gestural quality that conveys spontaneity through the formal elements, such as balance and movement.

More information can be found here:

Thursday, February 19

Claudia Wieser

Claudia Wieser, Verdopplung Der Welt I. 2006. Glass plates on wooden construction, 180 cm x 180 cm.

Title unknown.

Wieser’s work is inspired by specific art pieces and interior design concepts. Her forms are mostly formal, abstract, minimal sculptures. Modernist painting is one of her more noticeable art historical connections, with her simplifies shapes and palette.  She works with color on shapes to either clarify or confuse the viewer’s perception of the forms. For example, by painting flat areas of color, Wieser can give the illusions of flat planes on each cone. The simplistic qualities of the work are balanced by the playful nature.

For more information on visit:

Thursday, February 5

Weronika Zaluska

Title information: Unknown (

Title information: Unknown (

Weronika Zaluska uses fabric for its universal qualities and references. For her, the delicate qualities, light/bright colors, and manipulation of the material conjures up ideas of sweet desserts. I find this non-literal and simplistic use of material is interesting. Human senses and the environment are common themes in her work.  She looks at how the human body perceives and arrives at different sensations within each moment of the present time. Formally, the rounded forms link to the blossoming or layering of perception of the present moment.

More information can be found at:

Jim Hodges

Jim Hodges, Untitled, 2011, Granite, stainless steel and lacquer. 75x248x301 inches installed. Photo credit: David Regen

Jim Hodges, Glass mosaics, Installed at Anthony Meier Fine Arts.

Jim Hodges work is based on personal memories. He uses a variety of materials to produce his works, and he always tries to find materials that connect to his personal life. For example, he uses fabrics (such as denim) because of the memories he has of his mother and grandmother teaching him how to sew. Mirrors are another common element in his artwork. Not only do these connect to him, but they are a way he incorporates the viewer into his work.

Sabina Ott

“being one being living” 2013, styrofoam, canvas, flashe, spray enamel, security mirror and LED lights 48″ diameter- Installation view with mirrors “The Tyranny of Good Taste” at the Glass Curtain Gallery curated by Daniel Orendorff November 14 – January 25 traveling to The Charlotte Street Foundation, Kansas City, MO) February 7 – March 22, 2014.

Installation view. pink melon joy (inferno)2014. Styrofoam, plexiglass, clock, light fixture, spray paint, plastic, mirror, spray foam, astroturf, speakers, amplifier, drums, clock. variable- Chicago Cultural Center, Chicago, IL August 30, 2014 – January 4, 2015.

Sabina Ott’s work is inspired by the writings of Gertrude Stein and “folded” meaning. Ott prefers to use the term folded because of the idea that all of the layers a connected as a single unit. She compared the folded meaning of her work to a group of people observing a house. A painter will view the house in terms of color, and an architect will view the house in terms of line.

Ott juxtaposes colors, shapes, and materials in her work, which has ranged from sculpture, painting, and video. Many of the structures are made of Styrofoam with spray paint. There is also a combination of beauty and ugly elements in each piece. An interview with Ott can be found here:

Andrea Lofke

Tic tic tic… , July 2005 (Vox Populi, Philadelphia, PA). Mixed-media installation. Cardboard, glitter fabric, foam, pink latex, pom-poms, yarn, tape, pencil drawing on wall, Styrofoam, photocopies, vinyl, foliage model material, miniature foam fence, pins. Dimensions variable; 101 x 130 x 96 inches, installed.

Untitled, February 2007. Mixed-media. Carved styrofoam, vinyl, string, wood, paper, traffic cone. 48 x 70 x 36 inches installed.

Inna Babaeva

The Space Between, 2013

Never ending math equation, 2010

Bob Snead

Exhibit: Means of Production, Georgia Southern University, Statesboro, GA, 2013,

This was an interactive installation where viewers could touch the screen to begin a conversation with the ATM. Because he has been hired to be security and ensure no one touches the art, he eventually becomes offended by their constant touching and asks them to stop. If the viewer continues to touch, the actual security guards were instructed to state, “Sir/Ma’am, he asked you to stop touching him.”

ATM: Security Guard, mdf, plywood, spraypaint, speakers, touchscreen. Contemporary Art Center, New Orleans 2012

Caroline Lathan-Stiefel

Hinterland , 2010 , pipe cleaners, fabric, plastic, pins, yarn, thread, lead weights, electrical boxes, styrofoam balls, juice jugs, car speakers, dimensions variable.

Hinterland (detail) , 2010, pipe cleaners, fabric, plastic, pins, yarn, thread, lead weights, electrical boxes, styrofoam balls, juice jugs, car speakers, dimensions variable.

Yasuaki Onishi

horizontal forest, 10/8/2010 – 11/13/2010, Not Quite, Fengerfors SWEDEN. 

reverse of volume RG, 2012, h 470cm, w  1340cm, d 1210cm, glue, plastic sheet et al. solo exhibition Rice Gallery, Houston USA.

Vertical Emptiness: Crystallized Tree Branches Dripping with Strands of Hot Glue by Yasuaki Onishi trees installation glue

Installation photo from Kyoto Art Center,  tree branches, hot glue, and crystallized urea compounds, 2013.

Mona Hatoum

Nature morte aux grenades, 2006-2007, Crystal, mild steel and rubber, 95 x 208 x 70 cm, Edition of 5 plus 1 AP.

Kapan, 2012, five steel rebar cages with red glass, installed at Arter, Istanbul, 2012. Photo by Hadiye Cangökçe. Courtesy Arter.

'hanging garden' by mona hatoum

Hanging Garden.

Impenetrable, 2009. Steel and nylon monofilament, 118 1/8 × 118 1/8 × 118 1/8 inches (300 × 300 × 300 cm), edition 3/3.

Eva Hesse

Eva Hesse. Repetition Nineteen III. 1968
Repetition Nineteen III
1968, Fiberglass and polyester resin, nineteen units, Each: 19 to 20 1/4″ x 11 to 12 3/4″  in diameter.

Eva HESSE | Contingent
Contingent 1969cheesecloth, latex, fibreglassinstallation (variable) 350.0 (h) x 630.0 (w) x 109.0 (d) cm .

Trenton Doyle Hancock

Plate of Shrimp, detail, 2012.

The Former and the Ladder or Ascension and a Cinchin’, 2012.

Jessica Stockholder

Jessica Stockholder at Galerie Nächst St. Stephan, 2007, (basket, various plastic containers and parts, wooden ladder fragment, acrylic yarn, carpets, hardware, string, fabric, nylon, chain, easel, foam core board, acrylic paint, roofing tar, resin, table base, plywood, frame, plastic fencing.)

Of Standing Floats in Thin Air

Of Standing Float Roots in Thin Air, 2008, MoMA, New York, USA.

Rachel Whiteread

She says the casts carry “the residue of years and years of use”. Whiteread mainly focuses on the line and the form for her pieces. (

File:Whiteread tate 1.jpg
Embankment, Turbine Hall, The Tate Modern, Bankside, London. 12 November 2005. Photographer: Fin Fahey.

Rachel Whiteread. Untitled (Paperbacks). 1997
Untitled (Paperbacks), 1997, Plaster and Steel, Overall 14′ 9 1/8″ x 15′ 9″ x 20′ 8 3/4″ (450 x 480 x 632 cm)

William Morris

I was looking into some of Jim Lambie’s influences and found this statement. It led me to re-examining William Morris’ designs. “Working on a scale and intensity that takes on the gallery space, Lambie is also deeply influenced by movements in art and the history of place. His work specifically relates to the industrial past of his hometown of Glasgow, and utopian liberation movements, such as William Morris’ Socialism and the Arts and Crafts movement.” (from

Christian Boltanski

Lessons of Darkness, 1998

Monument Canada, 1988

Do-Ho Suh


Cause & Effect, 2007 acrylic and stainless steel and aluminum frame 142.875 x 400 x 460 inches

Figure F016391

High School Uniform, installation at Lehmann Maupin Gallery, fabric, plastic, stainless steel and casters, 1.5×2.2×3.7 m, 1996; photo courtesy of Lehmann Maupin Gallery, New York and the artist
Oxford Art Online Database

Rivane Neuenschwander

“Rain Rains,” part of “Rivane Neuenschwander: A Day Like Any Other” at the New Museum

Rivane Neuenschwander Eu desejo o seu desejo 580x388 Miami Art Museum Presents Brazilian Artist Rivane Neuenschwanders First Mid Career Survey

Rivane Neuenschwander, Eu desejo o seu desejo / I wish your wish, 2003. Silkscreen on fabric ribbons. Dimensions variable. Installation view New Museum , New York. Thyssen-Bornemisza Art Contemporary, Juan and Pat Vergez Collection. Image courtesy New Museum, New York. Photo: Benoit Pailley.

Judy Pfaff

2006 Ameringer/Yohe Fine Art, New York, N.Y.

Buckets of Rain, 2006
2006 Ameringer/Yohe Fine Art, New York, N.Y.
Wood, steel, wax, plaster, fluorescent lights, paint, black foil, expanding foam

2003 Ameringer/Yohe Fine Art, New York, NY.

Neither Here Nor There, 2003
2003 Ameringer/Yohe Fine Art, New York, NY.
Mechanical tubing, wood, rigid foam, paint and tape, 2 galleries: 153” x 245 1/2” x 209” and 153” x 228 1/2” x 165”




Photographs his site-specific installations in Norway; this series began around 2005.


Click to enlarge image rune_guneriussen_12_20111129_1914084683.jpg

Louise Bourgeois


“Femme Volage (Fickle Woman),” 1951
Painted wood, 72 x 17 1/2 x 13 inches
Guggenheim Museum, New York
Photo by Allan Fickelman

Cell (Glass Spheres and Hands)

Diana Al-Hadid

Nolli’s Orders, Steel polymer gypsum, fiberglass, wood, foam, paint, 264 x 228 x 122 in. 2012

Trace of a Fictional Third, Steel, polymer gypsum, wood, fiberglass, paint, 120 x 240 x 156 in, 2011

Stephen Hendee

The Pinpoint Remains

Springs Preserve January 16 to March 7 2010

Olafur Eliasson

cold wind

Cold wind sphere, 2012
Installation view Studio Olafur Eliasson, 2012


Innen Stadt Außen, Martin-Gropius-Bau, Berlin, 2010

John Outterbridge

The Rag Factory
Photo: Dominic Hackley
The Studio Museum, March 29, 2012

The Rag Factory (2011) installation by John Outterbridge at LA><ART

The Rag Factory (2011) installation by John Outterbridge, Gallery Two

Isa Genzken

Disco \'Soon\' (Ground Zero) 

Disco ‘Soon’ (Ground Zero), 2008
Cardboard, plastic, mirror, spray-paint, acrylic, metal, textile ribbons, light ropes, mirror foil, colour print on paper, MDF and casters
219 x 205 x 165 cm / 86 1/4 x 80 3/4 x 65 in

Hotel Tools

Hotel Tools, 2008
Plastic, metal, spray-paint, tools and household goods
76.5 x 60.5 x 333 cm / 30 1/8 x 23 7/8 x 131 1/8 in

Jean Shin

image of artwork image of artwork

Penumbra, 2003, broken umbrellas and thread, variable height X 72 ft w X 42 ft d, Commissioned by Socrates Sculpture Park, New York,

image of artwork image of artwork

Alterations, 1999, fabric (pants scraps) and wax, 2 ft h X 12 ft w X 12 ft d, Collection of Peter Norton, Santa Monica,

Sarah Sze

Sarah Sze Venice Biennale Triple Point (Planetarium)

Exhibition Information: Triple Point, 2013, Venice Biennale, Venice, Italy

Sarah Sze Tilting Planet

Exhibition Information: Tilting Planet, 2009, Baltic Centre for Contemporary Art, Newcastle, England

Ernesto Neto

File:Leviathan Pantheon.jpg

Leviathan Thot, Le Pantheon, Paris.

Anthropodino, Park Avenue Armory, New York. May 14- June 14, 2009.

Tara Donovan

Images of her work can be found:;

Erica Mahinay

  “A Feast to Remember All Feasts,” Oil on frosted acrylic-plexi, found furniture, silicon molds, cast plaster forms with iron powder residue, fabric, foam, lace, and wire.
Slipping Feast, Oil on plexi, found furniture, concrete, night lights, plaster, fabric, plastic, plastic fruit, graphite on vellum, 96″x48″

Karen Ann Myers

                                “Striped Diamonds”, 2012, Oil on Canvas, 36″ x 60″

 “Checkedred Floor”, 2010, Oil on Canvas, 48″ x 72″

Jessica Jackson Hutchins

 Still Life: Chair Bowl and Vase2008, Chair, plaster, collage, and ceramic, 43 x 36 x 31 inches,

 Sweater Arms, 2010, Glazed ceramic, sweater, chair, 36 x 24 1/2 x 22 inches,

Roger Hiorns

Roger Hiorns close                                Vauxhall, 2003, Stainless steel, thistles, copper sulfate, rubber, Velcro, silicone. Courtesy Marc Foxx, Los Angeles.

Roger Hiorns

The Architect’s Mother, 2003, Copper sulvate, BMW engine, steel, cardboard, foam. Courtesy Corvi-Mora, London and Marc Foxx, Los Angeles.

Jim Lambie

Venue: The Modern Institute, Glasgow, Exhibition Title: Shaved Ice, Date: November 23, 2012 – March 9, 2013,

Boyzilian, 21 October – 27 November 2010, Galerie Patrick Seguin 5, Rue des Taillandiers, 75011, Paris-

Jenny Mullins

                                                              (no other Info Given)

Gold for the Price of Silver,  Graphite and Acrylic on Paper, 6’x8,’ 2011, 

Laura Stack

Synbio #7 Synbio #7 – 2012 – acrylic, gouache, ink, graphite on paper – 30″ x 22,”

Synbio #8 Synbio #8 – 2012 – gouache, ink, graphite on paper – 30″ x 22,”

Amy Casey

A Small Logging Town, acrylic on paper, 2011, 13 x 17,”

 Boost, acrylic on panel, 2011, 16 x 20,”

Diana Cooper

 Close to It, 2001
felt tip marker, ink, acrylic, foam core, acetate on paper 50 x 38 x 8 1/2 inches,

The Emerger: MOCA Cleveland, 2005 – Ongoing
Acrylic, ink, acetate, felt, paper, foam core, map pins, 135x144x26 inches,

Lin Tiamniao

                                                          “Here or There” (2002) (All images courtesy Asia Society),

    “Here or There” (2002) (Installation shot),

Maggie Taylor

                The rehearsal. 2009,

                 The nest. 2010,

Jonathan Callan

                  For Stuart Callan, 2005, Paper and screws, 139 x 153.5 x 15.7 inches,
                   The Middle Chapter, 2004, paper, 1.2 x 8.5 x 10.5 centimeters,

Emily Nachison


White Room, Photography by PD Rearick (no other info given),

 Fairytale Trees, cast glass and mixed media, Photography by Dan Kvitka (no other info given)

Bridget Conn

Ancestors’ Worship, 2007, Inkjet photos on teabags, teacups, objects in teacups

       Songs About Anger #3, 2009, Paper, paint, photograph, rice, garlic press in box, 12in x 10in. x 2.5in.

             Songs About Anger #2, 2009, Paper, graphite, wooden spoon in box, 12in. x 10in. x 2.5in.

           Songs About Anger #1, 2009, Wood knot, paper, ink, glass, nails in box, 10in. x 12in. x 2.5in

Raymond Saa

Raymond Saá  ink on sewn paper  Untitled, 2010, ink on sewn paper, 29×31″ 

Raymond Saá  charcoal on sewn paper       Untitled, 2010, charcoal on sewn paper, 46×35″

Mary Button Durell

Glamour R No.1, 2011 tracing paper, wheat paste and acrylic 6 x 9 x 1 3/4 in,

Glamour R No.3, tracing paper, wheat paste and acrylic 5 1/2 x 9 1/2 x 1 3/4 in,


kris lewis

                  Heart of Glass and Gold, Oil on Paper mounted on wood, 19″x12″

 Rose, Oil on Board, 10″x8″

Marilyn Stevens

                   Not Done, 16″x36″

                                             One , 33″x59″

Valerie Hegarty

Altered States: Installation shot

Altered States: Installation shot, Marlborough Gallery, Chelsea, NYC, 2012 http://VALERIEHEGARTY.COM/artwork/2599713_Altered_States_Installation_shot.html

                                 Watermelon Toungue, 2012, Acrylic on Canvas, modeling paste, paper, glue, foil, thread, 24″x30″x9,”

Amanda McCavour

“McCavour makes frost and ice crystal forms out of cotton thread, using a sewing machine to create thread drawings and installations by stitching into a fabric that dissolves in water.”

Ice Box (Detail 5), 2011, Thread, Pins, 8’x8’x8′

 Living Room (Detail), 2010-2011, Thread, 12″x12″x12,”

Aili Schmeltz

 Striped Hilltop – 2008
spray foam, styrofoam, foam core, latex paint, and wood
38″ x 26″ x 24″

 Flag, 2008, styrofoam, foam core, latex paint, wood and marker flags,  36″ x 42″ x 27″

Jannick Deslauriers 

champignons. 2008-2009. installation textile.
dimensions variables

 Piano, 2010-11, crinoline, rigid mesh, organza and thread