In 1968, Arline Fisch visited the Gold Museum in Lima, Peru, where she came across a tiny pre-Columbian fragment of woven gold. This trip marked a pivotal point in her artistic practice, resulting in her unique, textile-derived approach to jewelry. Copper Wire Cuff, in which the artist ran copper wire through a knitting machine as if it were a strand of yarn, is an example of the type of work inspired by this encounter.
Cuff Worn By Model (1985)
The melding of textile technique and body ornament reflects the confluence of a broader range of interests and pursuits, including the artists’s introduction to weaving at Haystack Mountain School of Crafts and her self-directed study of jewelry in museum collections worldwide.
Photographed at the Museum of Arts and Design in Manhattan.
In 1970, Martin Lipofsky started a practice of traveling to glass factories around the world to learn from and collaborate with glass masters. He always sought to infuse the works he made with local culture, primarily through symbolic color.
Czech Flowers #6 (1991 – 92) is an example of this process. Lipofsky would conceive of the work, choose colors, mold-blow, and hot work the glass while abroad.
After he returned home, he would finish the piece (in this case: cut, sandblast and acid polish the glass) using various coldworking techniques. Czech Flowers #6 was created with help from Josef Rasocha.
Photographed in the Museum of Arts and Design in NYC.
Do you like monumental sculpture? I sure do. If that also happens to be your thing, and you’ve been looking for an excuse to head back over to the Chelsea Gallery District, you will want to know that Gladstone Gallery is currently hosting an exhibition of new sculptures by Ugo Rondinone from the artist’s latest body of work, nuns + monks — and these things are massive.
Often described as a hybrid between art, architecture, design and landscape architecture, Dan Graham’s freestanding partitions and pavilions — made from two-way mirror glass — sometimes create a kaleidoscopic, psychedelic experience. If you’ve never seen his work in person and missed his Hedge Two-Way Mirror Walk About, which was installed at the Met Roof Garden back in 2014, a new exhibit at 303 Gallery entitled Three Models, Three Sizes, Three Price Ranges offers a fun introduction to the full scope of his oeuvre.
Marcia Hafif (1929 – 2018) made this painting in Italy, where she lived for nearly eight years in the 1960s between college and graduate school. Her works from this period feature certain abstract forms that elude to landscapes, music or the body. For example, she characterized the hill-like curve — which here appears twice and inverted — as “a compact shape, archetypal, referring to the cave, the house, the home, safety, endurance, intensity.” Hafif embraced an open-ended approach to abstraction that was grounded in observing the world, and the nature of painting itself.
It is a fact that if my sister had not needed to visit the local Post Office during our recent stay in the funky little desert town of Moab, Utah, then I would not have had the good fortune to discover this fantastic mural of a Black Crow poking its head through a sea of cactus. The unfortunate presence of two trash bins is owed to the fact that the mural faces an alley between the Post Office and the town’s Main Street.
Entitled Keeper of the Garage, the 40ft x 12ft x 28ft scene adorns the back of the local coffee shop Moab Garage. The work dates back to October 2019 and is one of two town murals by artist Skye Walker from a commission by the Moab Arts council.
If you don’t know already, it will soon became apparent from my posts that I was recently traveling (on vacation) in the beautiful state of Utah! Our first stop on a ten-day road trip was Salt Lake City, where I was able to see this ‘floating boulder,’ entitled Asteroid Landed Softly (1994) by Japanese artist Kazuo Matsubayashi, from my window at the Marriott hotel!
Aside from being a stunning public landmark, Asteroid Landed Softly is a working sundial that also suggests the image of Southern Utah’s landscape. The sundial works through a slit in the tower (seen in the above photo) as a beam of sunlight is cast on the plaza floor.
The mirrored column supporting the pinkish-brown rock also beautifully reflects the changing faces of the surrounding office buildings and fluctuating weather patterns to offer a limitless number of perspectives that can be captured in photos. I did not realize when I took this particular photo that I had also captured a resting pigeon!
The above photo was taken a bit later in the day, so there’s a complete shadow on the face of the sundial. You can read more about this beautiful and functional work of public art at This Link!
Photographed at The Gallivan Center, Salt Lake City, Utah