#sculpture

#sculpture

"In a time of unprecedented division, escalating conflict, and economic turmoil, President Trump focused on what truly mattered: remodeling the Lincoln bathroom in the White House," reads a bronze plaque affixed to the work.

Robert Therrien's 'Under the Table' is a 10-foot-tall sculpture that captivates visitors, inviting them to experience its scale and intricacies from below. The piece exemplifies Therrien's ability to transform everyday objects into monumental art.

"My process is a constant negotiation with gravity," says Soojin Choi. The artist creates intimate ceramic sculptures depicting a pair entwined in an unknottable embrace, their limbs a seemingly endless tangle.

By installing my sculpture Vertical Highways V03 in front of Rockefeller Center, I want to initiate a dialogue of art and architecture that resonates with the urban history of New York City.

Thaddeus Mosley carved wooden sculptures out of logs he salvaged from the Pennsylvania forest, transforming them into art during his spare time, driven by passion.

I was nine years old, and I felt like I lost that childhood. I felt like I became a kid when I looked at a TV this morning. Burn that image into your mind, his mother told him, knowing the city would never be the same. It was 2003, and mere days later, the United States and its allies would launch their invasion of Iraq, raining airstrikes down on the city.

Bringing together roughly 180 galleries representing 18 countries, the presentations together cover 120 years of art history. Using its distinctive fair model featuring halls dedicated to different art historical periods and dialogues, historically significant works from classical Modernism-comprised of pivotal movements from the late 19th- to mid-20th century like Concrete art, Art Informel, Pop art, and more-meet the dynamic field of contemporary art today.

It stands a hair shy of five feet tall and is a bit over one-and-a-half feet wide. Made of nine interlocking pieces of gray ribbon slate, it feels as though a small push would completely wreck it. Humpty Dumpty stands on three legs, but it looks two-dimensional. It has an ovoid shape, and it juts upwards like a flat rocket ship.

Until 29 March 2026 Pressure is the largest survey to date devoted to the American sculptor Richard Hunt (1935-2023) and focuses on his ambitious, material-forward practice between 1955 and 1989. It coincides with a growing interest in the Chicago artist's singular approach to dimensionality and transcendence; White Cube, which began representing his work a few weeks before his death, staged solo shows of his work in New York (in 2024) and London (last spring).

Henry Moore believed tactility to be paramount, "as an aesthetic dimension", to both the making and the experiencing of sculpture. He really wanted us to be able to touch his work. However, its value and importance now means that doing so in most museums would be considered a big no-no-and for anyone for whom touch provides sight, this is massively restricting.

Hudson's work is defined by a recurring vocabulary of shapes grounded in the language of abstraction, where organic and geometric forms drawn from both the external and internal world converge. In It's Alright Cause I Know My Own Way Back Home From Here, references to landscapes and still lifes sit alongside forms that channel ongoing themes of loneliness, hopefulness, darkness and positivity. His paintings layer these motifs into compositions that are at once meditative and playful,balancing introspection with optimism.

Jeff Koons's "Banality" sculptures of the late 1980s are anything but ordinary: few can easily forget the sight of the Pink Panther embracing a partially naked woman, for one. But there's nothing quite so out of the ordinary about the artist's recent creations such as his 2016-21 sculpture Aphrodite, an eight-and-half-foot-tall nude that made its public debut at Gagosian gallery in New York last week.

When Robert Therrien passed away in 2019 at 71, he left behind a series of small note cards, each bearing a labeled line drawing. To those closest to him, they felt like legends that, if decoded, might reveal something of the elusive artist's practice. Many feature recurring forms in his work, like a keystone with the words "this is her" scrawled beneath it, or a bent cone titled "this is the path."

Opening on November 14, 2025, at the gallery's Bikini Berlin location, this immersive showcase invites visitors to explore the intricate relationship between perception, stillness, and the malleable nature of time. Drawing inspiration from the phenomenon of chronostasis, where a fleeting moment appears to elongate, the exhibition encapsulates the delicate dance between motion and remembrance. Through their distinctive practices, Wirths and Flad illuminate how focused attention can metamorphose our experience of time itself.

Stacks of flattened cardboard and bags of clothing are compressed into ceramic cubes, their bulging surfaces recording the tension of containment. Glass bubble-wrap sculptures from Hivert's Demi-Jour series line shelves-fragile objects posing as protective shells for absent contents. A bronze cast of work gloves rests nearby, monumentalizing gestures of past labor. In the background, torn collages evoke the weathered palimpsests of wheatpaste advertisements caught between removal and renewal.

Curated by Louise Déry, Director of Galerie de l'UQAM, the exhibition David Altmejd. Agora unites almost thirty heads and busts, which are emblematic of the artist's sculptural practice and were made between 1999 and 2025. Forming a remarkable assembly of mythological and real characters, spiritual and terrestrial figures, as well as human and non-human creatures, this body of work reveals the extent to which Altmejd brings about a metamorphosis of the living, induced by creative and unconscious forces, to construct a world.

Over the past two decades, the Japanese artist Aki Sasamoto has developed a unique performance/installation practice in which she produces installations of absurd sculptural devices-from haemorrhoid cushions to oversized fishing lures-that, in turn, serve as an object-based score and environment for improvised performances that combine humorous spoken narratives with physical actions and mark-making. The artist's first mid-career survey, Aki Sasamoto's Life Laboratory at the Museum of Contemporary Art Tokyo (MOT), traces the evolution of this practice through a sharp combination of installations, documentation and live performances.