Archive for the “Sculpture” category
by Travis Jeppesen on October 17, 2012
“A silver ball of a world birthed from a cement inferno.” A review of Antonio Bolota’s exhibition in Lisbon.
by Travis Jeppesen on October 9, 2012
“I just feel transsexualized by this vermin.” Bend the fecal out of despair. Upend the skyless and then words get drawn out, melody of silence played on brick accordion and then layered fathomly. Ford a finger. Here comes ol’ fingerfoot, (…)
by Travis Jeppesen on July 13, 2012
My space the godness garden of all. Stick to emerge the fragment, pearl drops inside rocked crescence, only to suicide the crags of oceanic wayfare: noblesse beginnings. Curved around shedlife’s tumescent wan long, fall down to perfectly symmetrize the sky’s (…)
by Travis Jeppesen on June 22, 2011
Miller’s work is always defined by a certain effortlessness at crossing the cerebral with the visual. In this, he is more motivated by his subject matter than any one particular mode of expression or conceptual framework. The result is that (…)
by Travis Jeppesen on January 15, 2010
A very strange exhibition, and one of the best I’ve seen in a long time. The show is actually Ruby’s — or more precisely, Ruby selected photographs of Mapplethrope’s and then made sculptural works responding to them. But Ruby’s work (…)
by Travis Jeppesen on November 13, 2009
My review of Rainer Fetting’s Berlin exhibition, which briefly appeared here a few days ago, is now online at Whitehot Magazine of Contemporary Art.
by Travis Jeppesen on September 14, 2009
My review of Ceal Floyer’s solo exhibition at Kunst-Werke is now online at Artforum.
by Travis Jeppesen on July 28, 2009
My review of Pencréac’h’s current Berlin exhibition is now online at Whitehot Magazine of Contemporary Art.
by Travis Jeppesen on July 3, 2009
On a recent trip to Paris, I was lucky enough to catch an exhibition of Duane Hanson, whose work I’ve long admired in reproduction but seldom seen in actuality. The sculptures most people and I know best stem from the (…)
by Travis Jeppesen on June 3, 2009
Those of us who have watched Terence Koh’s meteoric rise with grotesque fascination have always wondered how the inevitable obverse process would measure up to the hype spectacle. His current exhibition indicates that the fall will be swift and dismal. (…)