April 17, 2018

In her series Comparisons (2015-18), Virginia Maksymowicz incorporates images of caryatids and canephorae—columns in the shape of female bodies and of women bearing baskets on their heads—into a catalog of forms that extends beyond the classical examples from the Erechtheion in the Acropolis at Athens. The caryatid upholding a pediment is a rich metaphor: in the artist’s words, it is “the visual summation of human life and women’s fundamental role in supportin...

June 21, 2016

From first glance, Virginia Maksymowicz’s "Bread" series clearly recalls antiquity. These works abound in motifs taken from Greco-Roman architecture—caryatids, Corinthian capitals, columns, and volutes—but as the viewer comes closer, the point of reference shifts. The Hydrostone and fiberglass/ resin forms have less to do with Greek and Roman marbles than with plaster casts of the academic tradition. With this textural nuance, Maksymowicz brings imagery from t...

January 15, 2016

Virginia Maksymowicz’s work wittingly combines the anatomical with the architectural creating metaphorical and real relationships between the female figure and the built world. Tectonics in architecture is defined as the art of construction, both in regards to practical use and more specifically to artistic design. It refers to an activity that raises construction to an art form. Maksymowicz’s use of architectural concepts ironically welcomes a tectonic interp...

October 17, 2013

Broad Street Review

November 20, 2015

Samantha Maldonado

Subversive wisdom: review of "Old Enough to Know Better: at Crane Arts

Each of the individual works engages the viewer in its own created world. Virginia Maksymowicz’s sculpture She Talks Too Much is unsettling: a white head mounted flush to the wall shows lines of tension while coughing out random, perfect little white letters. A “screw you” to those who say she talks too much, or a kiss-off to those who th...

May 9, 2013

A Mysterious Artwork

Art lovers who meander along Alexis Smith's "Snake Path" and take in the view of "Fallen Star" are unknowingly walking right past an unmarked, mysterious art installation that's been part of the campus for decades. Those that stick to the path will never see this hidden artwork or learn of the tragedy it commemorates. Set into the earth like an ancient relic, the object predates the Stuart Collection.

There has been no fanfare for Virginia M...

November 10, 2011

Not so long ago, in a galaxy not very far, far away, there existed a breed apart — feral, solipsistic, arrogant, and rich as Croesus. Masters of the Universe, they dubbed themselves, and they ruled Wall Stret in the 1980s, buying and selling and liquidating faster than you can say slick.

But it all came down, first with the stock market crash of 1987, then with a skein of criminal charges.

Yes, Wall Street was at the heart of shenanigans in the 1980s, just as it...

March 1, 2003

Virginia Maksymowicz’s installation The Physical Boundaries of This World is a poetic and sobering visual representation of what Hedda Bagler articulates as “a tight little world I’ve stumbled into.” Like Ibsen, Maksymowicz expresses the inherent limitations that life imposes on individual self-determination.

Identical white plaster bodies are set between white rectangular boxes, evenly spaced across a light blue floor. Only half of each body—navel to feet—is v...

March 1, 2002

Alternating figures are defined in scientific terms, Maksymowicz tells me, as "ambiguous diagrams serving in the psychology of perception to illustrate the way the mind habitually tries to achieve a coherent Gestalt. An example is the famous impossible trident, the bottom half of which seems like a square "u," and the top half like three prongs. Op art occasionally makes use of the phenomenon. One might speculate whether there is a non-visual cerebral equivale...

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All artwork on this site © Virginia Maksymowicz.

Most photography is by Blaise Tobia.

Some works are collaborative.

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