November 2000		Vol.19 No.9
A publication of the International Sculpture Center

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On the Cover

Joel Shapiro, Untitled, 1998–99. Aluminum and stainless steel, 4.22 x 4.39 x 4.78 meters. Photograph by Ellen Page Wilson, courtesy of PaceWildenstein.

Features

Outdoors with Joel Shapiro
Shapiro creates meaningful inversions and dislocations of sculptural form.
by Roberta Sokolitz

Athena’s Other Selves: An Interview with Athena Tacha
A pioneer of site-specific public sculpture, Tacha also creates diverse “private” works.
by Glenn Harper

The Proportions of Paradox: The Work of Ellen Driscoll
Driscoll’s works transport individual imaginations beyond temporal circumstances.
by Patricia C. Phillips

The Void: Daniel Libeskind’s Jewish Museum as a Counter-Monument
As a museum, the project is stalled; as a monument in itself, it embodies a void.
by Carolee Thea

Pillars of Witness: Memorial to the Holocaust
Holocaust memorials struggle with the magnitude and meaning of historical events.
by Ken Scarlett

Departments

News
Focus: Kaoru Motomiya by Kay Itoi
Focus: Jerry Dodd by Nancy G. Heller
Site: Grosse Point Passage by Jeff Huebner
Commissions

Reviews

New York: Christopher Wilmarth
Los Angeles: Michael Barton Miller
New London, CT: Sculpture 2000 International
Washington, DC: Lisa Scheer
Miami: “Departing Perspectives”
Atlanta: Kevin Sipp
New Orleans: Jane Manus
St. Louis: Kevin Welby
Ithaca, NY: Andy Goldsworthy
New York: Yoshiro Suda
Cleveland: “Achieving Failure: Gym Culture 2000”
Wooster, OH: Garth Amundson
Greensburg, PA: Andrew Johnson
Houston: Sharon Kopriva
Dallas: Janet Tyson
Seattle: Lee Imonen
Charlottetown, Canada: “Desire”
Dublin, Ireland: Kathy Prendergast
Dispatch: “Art Nouveau: 1890–1914”

Sculpture Magazine Archives
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