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INTRO TO SCULPTURE
How did sculpture go from this
to this?
Picasso
Nineteenth century sculpture was figurative and functional, and was dominated by the growing materialism of societies on both sides of the Atlantic.
Probably the lion's share of all sculptural commissions was directed towards the commemoration of important figures (eg. The Albert Memorial in
London), events (eg. emigration to America, The Statue of Liberty) or places (eg. Washington, the US Capitol building; Paris, the Arc de Triomphe).
Ironically, however, the growing functionality of art - most visible in the skyscraper architecture of late 19th century America, which required no internal
or external sculptural decoration - may have helped to pave the way for the introduction of abstraction. But before this could happen, the stranglehold
which traditional academic art maintained on the theory and practice of painting and sculpture, needed to be broken. Picasso and Braque duly obliged.
The invention of Cubism (fl.1908-14) by Pablo Picasso (1881-1973) and Georges Braque (1882-1963) rocked the art world to its foundations. Here was a
form of abstract art which (in its painting) rejected linear perspective and focused entirely on the picture plane. Despite the new semi-abstraction
introduced in The Kiss (1907, Muzeul de Arta Craiova) by Constantin Brancusi (1876-1956), and in Crouching Figure (1907, Museum of Modern Art,
Vienna) by Andre Derain (1880-1954), nothing had ever been seen like Cubism, before. Although painters were the first to apply Cubist principles,
sculptors weren't far behind. Works became more geometric; perspective became flattened and more fragmented. Soon, a whole new series of 3-D works
began to emerge. Examples include: Woman Walking (1912, Private Collection) by Alexander Archipenko (1887-1964); The Rock Drill (1913-14, MoMA,
NY) by Jacob Epstein (1880-1959); The Large Horse (1914, Musee National d'Art Moderne, Paris) by Raymond Duchamp-Villon (1876-1918); Man With
Guitar (1915, MoMA, NY) by Jacques Lipchitz (1891-1973); Fruit Dish with Grapes (1918) by Henri Laurens (1885-1954); Head of a Woman (1917-20,
MoMA, NY) by Naum Gabo (1890-1977); and Torso (1924-6, MoMA, NY) by Antoine Pevsner (1886-1962).
THE MOVEMENTS
THE
MOVEMENTS
started in 1919
THE BOOK
ANSLEM
KEIFER
Anselm Kiefer has been making lead sculptural books for over thirty
years now. In the 1970s and 1980s, Kiefers monumental lead libraries
became immoveable fixtures in the museums and galleries that owned
them. Characteristic of Kiefers oeuvre, the intransigence, fixity and
immobility of epic lead books was thrown into conflict with the
ephemerality and ineffability of the organic hair, straw, sand and earth
written on the pages of Germanys troubled past on which these books
discoursed. Kiefers books are monumental not just in size. They embrace
an infinity of materials, meanings, media and histories. They are about
painting, about sculpture, books, indeed images and texts of all kinds.
They blur the line between the symbolic and the real, the past and the
present, heaven and earth, death and regeneration, violence and
serenity and on and on. The scale of these works is inconceivable, and it
is not only their size and their ambition. But unlike any other artworks in
circulation and on exhibition today, Anselm Kiefers books hark back to
the possibility of the redemptive power of art, and in particular, of a
marriage between landscape painting and the book as an evocative
metaphor for the communication of collective knowledge.
In the lead sculptural books of the last 15 years eg. Dein und das Alter
der Welt and Fnfundzwanzig Jahre Einsamkeit (1998), Buch mit Flgen,
1992-1994 Kiefer moves outward from his earlier concern with the
traumas of German history, the charred landscape of Germany and its
cultural manifestations, concerns at the heart of his monumental lead
libraries of the 1970s and 1980s. He books begin to embrace the world
of our present relationship to images and books: he instantiates a
complicated marriage of image and word, image and object, a marriage
that becomes the most evocative metaphor for the communication (and
lack thereof) of collective knowledge, memory and myth today.
ALEXIS ARNOLD
after repeatedly finding boxes of discarded
books in and around her urban environment, san
francisco-based artist alexis arnold became
fascinated by the idea of finding ways in which
to immortalize forsaken publications. the shutting
of newspaper and magazine shops coupled with
the onslaught of electronic reading leaves the
paperback in a uncertain state. arnold has artfully
reimagined their purpose as sculptural, adding
glittering, living crystal growth to their pages.
!
the crystallized book series addresses the
materiality of the book versus the text or content of
the book, in addition to commenting on the
vulnerability of the printed book!arnold describes.
the crystals remove the text and transform the
books into aesthetic, non-functional objects. the
books, frozen with crystal growth, have become
artifacts or geologic specimens imbued with the
history of time, use, and nostalgia. arnolds
crystallized books are presented at esther klein
gallery in Philadelphia, Pennsylvania from now until
march 20, 2015.
SAMUEL LEVI JONES
Samuel Levi Jones (b. 1978) deconstructs and manipulates books such as
encyclopedias and textbooks, to critically explore systems of knowledge and
power. In 2013, Jones began collecting the encyclopedias and reference
booksoften understood as authoritative sources of information, even though
they are sometimes biased and inaccuratethat form the foundation of his
current project. He tears the covers off these books and stitches the exposed
binding surfaces together in grids, which he then mounts on canvas. The
works recall the rational grid employed by Minimalists such as Agnes Martin
and Sol LeWitt. Further, the raw edges reveal layers of cardboard and fabric
and add textural roughness that evokes the painterly, gestural marks of
Abstract Expressionists such as Jackson Pollock.
MARIA LAI
Artist Alicia Martin's tornado of books shoot out a window like a burst of water from a giant hose. The
Spain-based artist's sculptural installation at Casa de America, Madrid depicts a cavalcade of books
streaming out of the side of a building. The whirlwind of literature defies gravity and draws attention
with its grandeur size. There have been three site-specific installations, thus far, of the massive sculptural
works in this series known as Biografias, translated as Biographies, that each feature approximately
5,000 books sprawled out around and atop one another.
Martin's giant book structures give life to the inanimate objects filled with knowledge. By constructing
the curving towers with a rather free and disheveled exterior, while maintaining a sturdy core, the books'
loose pages are free to blow and rustle in the wind, allowing the piece to be further animated.
SABRINA MEZZAQUI Sabrina Mezzaqui (Bologna, 1964) lives and
works in Marzabotto (BO ).
!
Y O U R S T R U LY
GERHILD ROTHER
!
F O R Y O U R N E X T P R O J E C T:
For
this
project
you
will
each
be
given
an
old
book
that
you
will
be
asked
to
transform.
Given
your
new-found
knowledge
of
historical
&
contemporary
sculptural
practices
you
can
approach
this
sculpture
in
multiple
ways.
Think
about
folding,
building
something
from
the
book,
or
dismantling
the
book
altogether.
Sky
is
the
limit.
This
project
is
aimed
to
give
you
a
limitation
and
allow
you
to
use
your
critical
thinking
skills
to
come
up
with
a
new
and
exciting
object.
Also
think
about
what
a
book
actually
is
and
how
it
is
becoming
an
obsolete
object.
Books
have
the
capability
to
inform
us,
transport
us,
and
allow
us
to
visualize
the
written
word.
You
will
need
to
sketch
out
in
your
ideas
in
your
sketchbook.
IDEAS: FOLDING
IDEAS: BUILDING
IDEAS: CARVING
MORE IDEAS
Li Hongbo