While Kris Kuksi’s baroque assemblages (first covered in HF Vol. 19) have an ornate aesthetic suited for marble or gilded bronze, his work is composed of carefully-chosen collections of commonplace, throwaway objects. Kuksi assembles dolls, jewelry, model parts and various consumerist debris into monumental dioramas. Within them, his characters are embroiled in a chaotic drama of violence and sex, which Kuksi carefully contains into symmetrical, harmonious compositions that appear deceptively decorative at a first glance. The Kansas-based artist will be showing his new body of work for his solo show, “Antiquity in the Faux,” opening at Mark Moore Gallery in Los Angeles on November 15.
Whether rendered life-sized in resin and paint or smaller and 3D-printed, 
Using discarded newspapers and books, sculptor 
Kara Walker's recent Hyundai Commission is a 45-foot-high fountain at Tate Modern, exploring the historical tether between Africa, America and Europe with inspiration from the Victoria Memorial in London. Water, Tate says, has its own significance in the work, “referring to the transatlantic slave trade and the ambitions, fates and tragedies of people from these three continents.” The title of the work: “Fons Americanus.”