bronze sculpture – Art Spiel

June 23, 2025June 18, 2025, by Eva Zanardi

ARCOlisboa 2025 and Lisbon’s Renaissance

Lisbon in May presents itself as both majestic and enigmatic, its urban landscape punctuated by clusters of jacaranda trees in full bloom, casting cascades of purple blossoms across streets and sky like botanical fireworks. The city’s legendary seven hills form a natural amphitheater overlooking the Tagus River, creating an endless choreography of ascent and descent through Escher-like topographies. Glossy marble cobblestones snake through a labyrinth of narrow streets, flanked by stately yet sometimes weathered palaces and residential buildings adorned with brightly colored azulejo tiles that catch and reflect the city’s crystalline light, making the entire urban fabric shimmer.

June 16, 2025June 15, 2025, by Jan Dickey

The Treasure Below Grand

ISammy Bennett, *Above Grand (Echoes of Language as Code),* 2025, photo courtesy of Flaneurshan Studio

Where Air Turns to Fog at Below Grand, curated by Ray Hwang, gathers Sammy Bennett, Anna Gregor, and Jesse Ng in a sometimes cheeky, but overall multivalent and sincere, investigation of visual perception and the machinery of capital-F/capital-A Fine Art presentation. With his characteristic casual abandon, Hwang exploits the gallery’s awkward architecture to its full potential, letting Bennett install an upside-down trompe-l’œil “group show” in the street-facing walk-in window display while reserving the closet-sized back room for a collection of Gregor and Ng’s paintings.

May 7, 2021December 6, 2024, by Etty Yaniv

Jennifer Macdonald: We Met in Kaarthijenkia at Sala Projects

In Dialogue with Jennifer Macdonald

Jennifer Macdonald, We Met in Kaarthijenkia installation at Sala Projects, 2021, photo courtesy of Tania Cross

Jennifer Macdonald’s solo inaugural exhibition at Sala Projects features a group of unique cast bronze sculptures, made by using prototypes that are built from textured wax and wax-coated materials such as card stock, pasta, balsa wood.

February 28, 2021March 1, 2021, by Patricia Miranda

Alexander Rutsch, The Voluptuous Eye at Kenise Barnes Fine Art

Sunset, mixed media on board, 36 x 44 inches, 1990s

My first encounter with the work of the artist Alexander Rutsch was through his daughter, the artist Alexandra Rutsch Brock (Alexi), a friend and one of my fellow co-founders of the London Calling Collective. I visited the Rutsch family home in Pelham where she grew up and where her mother still lives. The home, an eccentric, polymathic cacophony of hand-hewn art and embodied life, reflects my experience of Alexi as a passionate and energetic artist, teacher, and friend. A labyrinthine artist’s house- the type that real estate brokers abhor, is brim-full of paintings, sculptures, built-in furniture, object d’art, hand-tiled stone walls, curved nooks, hallways to a warren of rooms, and Alexander Rutsch’s overflowing attic studio, where the work from this exhibition came. I marvel at the fecundity of imagination a childhood in that house must have fostered. This history makes it a special honor to step back and review the exhibition, Alexander Rutsch, a Pop-Up, at Kenise Barnes Fine Art in Larchmont, NY, on view March 4-7 and March 11-14. 2021. The exhibition includes paintings on panel, works on paper, sketchbook pages, and whimsical bronze sculptures cast from industrial materials and found objects.