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Created by British artist Gabriele Beveridge, the wall-mounted sculpture True Bone (2019) pairs hand-blown glass forms with chromed steel shop fittings, materials more commonly associated with retail display than fine art. Yet here, they take on a distinctly biological presence.
Continue reading Modern Art Monday Presents: True Bone By Gabriele Beveridge
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John Baeder’s Stardust Motel (1977), is a crisp, sunlit portrait of American roadside culture at its most iconic. Known for his photorealist paintings of diners, gas stations, and motels, Baeder treats the Stardust not as nostalgia-soaked ruin, but as a proud, functioning emblem of mid-century optimism. The signage is clean, declarative, and bold, the sky impossibly blue —everything rendered with the precision of a memory you’re not quite sure you actually lived.
Continue reading Modern Art Monday Presents: John Baeder, Stardust Motel
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Man on Fire (1969–70), an early— and unmistakably iconic —sculpture by the late American artist Luis Jiménez, is a work of art that embodies raw power, cultural memory, and the turbulent politics of its time . Standing nearly seven-and-a-half feet tall and cast in brilliantly painted fiberglass, this blazing figure demands your attention. Continue reading Modern Art Monday Presents: Luis Jiménez, Man on Fire
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If you’re familiar with the work of Kenneth Price (1935 – 2012), you already know that he had a singular talent for transforming clay into something far stranger — and far more evocative — than traditional ceramics ever aspired to be. His 1963 sculpture S. L. Green captures Price at a pivotal moment in his early career, when he was beginning to push the medium into new, almost rebellious territory. Continue reading Modern Art Monday Presents: Kenneth Price, S.L. Green
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For many artists working in the 1960s and ’70s, ideas often superseded the physical making of art. These ideas were typically ideological, structural, and philosophical in nature and conveyed in the form of words, grids, and graphs. By the 1980s, Thomas Schütte and other artists ushered in a return to representation, which some critics described as a response to a “hunger for images.“ Around this time, cherries, watermelon, and other kinds of comestibles became motifs in his work.
Continue reading Modern Art Monday Presents: Thomas Schütte, Melonely