Escobar, pictured in New York City in 1968, stands next to a seven-foot-tall bronze work titled Father Damien. Although largely forgotten in recent decades, artist Marisol Escobar’s public persona and creative output made a serious splash in the New York art world in the 1960s. Operating on her own terms in a male-dominated scene, the French sculptor was “known for blithely shattering boundaries, ” as her obituary in The New York Times declared earlier this year. For one, Escobar maintained privacy in an age when the public thirsted for celebrity. She was described as “Garboesque” for her discretion: that is to say, on par with the famously reclusive habits of the Swedish-born actress. Escobar confounded others with her often-silent presence, but ultimately her shape-shifting This story is from Kinfolk Issue Twenty-Three Buy Now Related Stories Arts & Culture Issue 46 Studio Visit: Yoko Kubrick In the studio with a sculptor of monuments and mythologies. Arts & Culture Issue 46 Puff Piece On inflatable art. Arts & Culture Issue 46 Peer Review Upcycle designer Laurs Kemp on the influence of mid-century salvage artist Louise Nevelson. Arts & Culture Issue 44 Hannah Traore The art world's next big thing is a gallerist. Arts & Culture Issue 43 Space Invaders Room dividers from a Roman studio. Arts & Culture Issue 43 The Sellout On the moral maze of art and money.
Arts & Culture Issue 46 Studio Visit: Yoko Kubrick In the studio with a sculptor of monuments and mythologies.
Arts & Culture Issue 46 Peer Review Upcycle designer Laurs Kemp on the influence of mid-century salvage artist Louise Nevelson.
