Author Archives: Hilarie M. Sheets


Looking at Art
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Uncovering Matisse

The first major survey of Matisse's output during World War I uses cutting-edge technology and old-fashioned connoisseurship to reveal his radical system of scraping, scratching, and repainting. Read More


Profiles
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Man of a Thousand Faces

Filming portraits for his acclaimed glass-brick foundation in Chicago, weaving the alphabet into a giant steel figure in Des Moines, and staging a tower of cymbals for Dubai's newest skyscraper, Jaume Plensa brings a sense of spectacle and intimacy into monumental public sculpture. Read More


Profiles
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Turning the Subject into the Artist

Oliver Herring is guided by social interaction—in communally made photosculptures, in giddy performances where volunteers take on bizarre tasks, and in videos featuring strangers who come by his Brooklyn studio. Read More


Trends
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Waves of Light

From bulbs to neon and fluorescent tubing to LEDs and other electronic creations, artists are using light—as material and subject—to comment on everything from advertising to spirituality. Read More


Profiles
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Optical Delusions

In Tim Eitel’s monumental canvases, walls might be space, interiors could be exteriors, and the figures could be either real or imagined. Read More


Features
UNDERRATED Judy Pfaff, Ziggurat (detail), 1981. Although she was awarded a MacArthur grant, Pfaff is still not given her due. COURTESY THE ARTIST AND AMERINGER & YOHE FINE ART, NEW YORK

Underrated/Overrated

Which artists have been overlooked? And which have we been looking at too much?. Read More


Profiles

Cut It Out!

Kara Walker’s cutout silhouettes of antebellum racial stereotypes are lewd, provocative—and beautiful. Kara Walker’s cutout silhouettes of antebellum racial stereotypes are lewd, provocative—and beautiful Read More


Features

The Mod Bod

Modified, magnified, dissected, and erected, the body takes on unexpected shapes when sculptors use it as a metaphor for emotions. Modified, magnified, dissected, and erected, the body takes on unexpected shapes when sculptors use it as a metaphor for emotions. Read More


Features
Peter Edlund calls attention to what wasn't shown in the landscapes of the past, as in Majestic America: Fugitive Slave Act of 1850 (after A. Durand), 1999.

Reinventing the Landscape

From the spiritual to the technological, the sublime to the revolutionary, today's landscape painters are transforming the genre. Read More


Features

Baffled, Bewildered—and Smitten

How to learn to stop worrying and love the art you don't understand. Read More