by Steven Henry Madoff
OCT 2013 | Critics Page
When my sister died, I was holding her hand in a hospital room in Hartford. Amid the shock of it, what I felt was the inevitability of this destruction that seemed, whatever else it was (the many other things it was), to be a monument to sheer facticity: the unswerving immenseness of the thing itself.
MAR 2015 | Art
At opposite ends of the career spectrum, newcomer Claudia Comte and art world veteran, Ursula von Rydingsvard, have much in common. Both are female sculptors of the monumental, conjoined by their love of wood as material medium and a stalwart addiction to process, the result of which is an affectively particular aesthetic that finds its roots within the history of Modernism and Minimalist seriality as much as that of popular culture.