D7 艺术家 35

Michael SailstorferMichael Sailstorfer’s site-specific interventions emphasize transformation and challenge conventiona

Michael Sailstorfer

Michael Sailstorfer’s site-specific interventions emphasize transformation and challenge conventional rubrics of sculpture. He gives objects new meanings and functions by reconfiguring, though not deconstructing, them. Much of Sailstorfer’s work involves breaking down an object to reveal its physical components, as in the case ofZeit ist keine Autobahn (Time is not a motorway)(2005). The work features a spinning, motor-powered tire pressed against a wall; as the tire wears down, rubber particles collect on the floor and the scent of burning rubber fills the installation space. Sailstorfer cites the site-specific, performative work ofGordon Matta-Clarkas a key influence, and says he is “interested in what sculpture can be and how a sculpture can spread out and use much more space than it physically has.”

Klaas Rommelaere

Daniel Silver

Sheila Hicks

Pioneering fiber artist Sheila Hicks blurs the boundary between painting and sculpture with her vibrant woven and textile works, which she creates in many shapes and sizes, from wall mountings that mimic the format of painting to suspended pieces that hang from ceiling to floor like textured columns. Hicks studied at Yale under the famed color theoristJosef Albersand was encouraged by Albers’ textile artist wife,Anni, to travel and investigate the artisanal fabrics of Colombia, Chile, Peru, and Bolivia, experiences that proved formative to Hicks’ artistic development. Her use of “domestic” mediums differed radically from the rigid industrial techniques of theMinimalistsand hard edges of the abstract painters prominent amongst her contemporaries; Hicks is closely aligned withEva Hesse, her fellow student and fellow innovator of sculpture made from soft, atypical materials.

Amikam Toren

Attuned to the profound in the ridiculous and the ridiculous in the profound, Amikam Toren alters found objects and images, transforming them into paintings, works on paper, videos, installations, and sculptures full of surprising depth, humor, and meaning. With a keen eye on the everyday and overlooked, and an interest in language and the process of interpretation, Toren scours his own studio and street and antique markets for his materials. Through interventions subtle and overt, he teases out poignant truths from an incredible array of unlikely objects. In his “Armchair Paintings” project, begun in the late 1980s, he cuts phrases—like “cathartic logic”—into cheap, kitschy oil paintings of flowers and landscapes, inflecting both text and image with new significance. ForA Users Guide to Married Life(2012), he transformed packing instructions into tender symbols of a shared existence.