Posts tagged sculpture

Auguste Rodin, Balzac, étude type A. - “According to his reminiscences: “[Rodin] told me that the Balzac was cast from his original sketch for the statue, but the government officials had decided that Balzac was too naked for the nursemaids and children who frequented the gardens and it was refused. He then made the figure that was accepted by simply throwing a dressing-gown about Balzac so that nothing now shows of him, or rather is uncovered, but his head. Mine was the only bronze that he made from this sketch, he told me… He placed a low valuation on the bronze as he seemed to be thoroughly disgusted with the prudery of the officials” — A. Gallatin, The Pursuit of Happiness, The Abstract and Brief Chronicles of theTime, New York, 1950, pp. 27-28

Auguste Rodin, Balzac, étude type A. - “According to his reminiscences: “[Rodin] told me that the Balzac was cast from his original sketch for the statue, but the government officials had decided that Balzac was too naked for the nursemaids and children who frequented the gardens and it was refused. He then made the figure that was accepted by simply throwing a dressing-gown about Balzac so that nothing now shows of him, or rather is uncovered, but his head. Mine was the only bronze that he made from this sketch, he told me… He placed a low valuation on the bronze as he seemed to be thoroughly disgusted with the prudery of the officials” — A. Gallatin, The Pursuit of Happiness, The Abstract and Brief Chronicles of the
Time, New York, 1950, pp. 27-28

Robert Doisneau (1912-1994) Venus Prise à la Gorge, 1964. Gelatin silver print, signed in ink in the margin; initialed, titled, and dated in ink on the verso.

Robert Doisneau (1912-1994) Venus Prise à la Gorge, 1964. Gelatin silver print, signed in ink in the margin; initialed, titled, and dated in ink on the verso.

Inflatable Stonehenge, Giant Rubberized Pile of Poo at M+ - Six large inflatable works including ‘Sacrilege’ by Jeremy Deller (Giant Inflatable Stonehenge) and Paul Mccarthy’s Pile of Poo, rise on Hong Kong’s waterfront, transforming the site into a contemporary sculpture park, as part of an exhibition curated by M+, the new museum for visual culture at the WKDC.

Inflatable Stonehenge, Giant Rubberized Pile of Poo at M+ - Six large inflatable works including ‘Sacrilege’ by Jeremy Deller (Giant Inflatable Stonehenge) and Paul Mccarthy’s Pile of Poo, rise on Hong Kong’s waterfront, transforming the site into a contemporary sculpture park, as part of an exhibition curated by M+, the new museum for visual culture at the WKDC.

Franz West (1947-2002) Chair 2003, Artists Plate on Inside (Fiberglass)

Franz West (1947-2002) Chair 2003, Artists Plate on Inside (Fiberglass)

Luo Brothers (Chinese), Untitled, 2009 Fiberglass.

Luo Brothers (Chinese), Untitled, 2009 Fiberglass.

Luo Brothers (Chinese), Untitled, 2009 Fiberglass.

Luo Brothers (Chinese), Untitled, 2009 Fiberglass.

Zheng Lu (Chinese, b. 1978), Mao Never Down, 2006. Resin

Zheng Lu (Chinese, b. 1978), Mao Never Down, 2006. Resin

Richard Jackson’s ‘Bad Dog’ amuses me to no end. The 8.5 meter tall sculpture of a black Labrador Retriever pissing down on the facade of the Orange County Museum of Art in Newport Beach is the artist’s latest sculpture

Richard Jackson’s ‘Bad Dog’ amuses me to no end. The 8.5 meter tall sculpture of a black Labrador Retriever pissing down on the facade of the Orange County Museum of Art in Newport Beach is the artist’s latest sculpture

Donald Judd, Untitled 1989 represents the apex of Donald Judd’s career-long involvement with establishing space and color as the foremost elements in art. The creation of rectilinear objects that confronted the viewer with their obdurate material presence was part of the visual vocabulary of so-called Minimalist artists, among them Robert Morris and Dan Flavin. But, only with Flavin does Judd share the extraordinarily compelling visual opulence that catalyzed these artists’ concern with the visual activation of space. Writing “there is no neutral space, since space is made,” with Untitled, Judd insisted that his objects existed as self-evident participants with no relation to anything beyond their factual presence: material and color are the work’s only constituent elements.

Donald Judd, Untitled 1989 represents the apex of Donald Judd’s career-long involvement with establishing space and color as the foremost elements in art. The creation of rectilinear objects that confronted the viewer with their obdurate material presence was part of the visual vocabulary of so-called Minimalist artists, among them Robert Morris and Dan Flavin. But, only with Flavin does Judd share the extraordinarily compelling visual opulence that catalyzed these artists’ concern with the visual activation of space. Writing “there is no neutral space, since space is made,” with Untitled, Judd insisted that his objects existed as self-evident participants with no relation to anything beyond their factual presence: material and color are the work’s only constituent elements.

Alexander Calder, (1898-1976) Seven White Dots, Brass Spiral, on Black and Red, signed with the artist’s initials ‘CA’ (on the base) painted sheet metal, brass and wire 28 x 21 x 11Ωin. (71.1 x 53.3 x 29.2cm.)

Alexander Calder, (1898-1976) Seven White Dots, Brass Spiral, on Black and Red, signed with the artist’s initials ‘CA’ (on the base) painted sheet metal, brass and wire 28 x 21 x 11Ωin. (71.1 x 53.3 x 29.2cm.)

Georg Baselitz in his studio having a conversation with Jean –Louis Froment and Jean-Marc Poinsot, discussing Baselitz’s quote, “We make a sculpture or a painting against a sculpture or a painting that someone has made before us; always against something.”

Georg Baselitz in his studio having a conversation with Jean –Louis Froment and Jean-Marc Poinsot, discussing Baselitz’s quote, “We make a sculpture or a painting against a sculpture or a painting that someone has made before us; always against something.”

Artist Arran Gregory’s third solo exhibition, Wolf, at Dalston’s Print House Gallery. The exhibition includes print and illustration work, and fantastically striking mirrored animal sculptures.

Mark Grotjahn’s Snowmen Hit the Slopes in Aspen - Paul Klee Would Be Proud

Mark Grotjahn’s Snowmen Hit the Slopes in Aspen - Paul Klee Would Be Proud

Greg Allen On The Cut-out as A Sculptural Medium - “…these cutouts share a context—propaganda, exhibition, war, military, politics—with photomurals; they’re ways to put photography to work, to push and expand it beyond the newspaper, or the book, or the album, the slideshow, or—occasionally—the gallery, wherever it had been hanging out until that point. And at these scales, I suspect photography was taking a lot of its cues from cinema, moving pictures. Whatever photomurals are to painting, the cutouts are to sculpture, I figured. Until I saw Matt Jones’ show, Multiverse last Spring at Freight + Volume. Jones’s plywood cutout works are photo, painting, and sculpture all at once, or in turn.”*Cady Noland’s Tanya as Bandit, 1989, General Idea, and Guerrilla Girls at MoMA, 2010, image via greeds

Greg Allen On The Cut-out as A Sculptural Medium - “…these cutouts share a context—propaganda, exhibition, war, military, politics—with photomurals; they’re ways to put photography to work, to push and expand it beyond the newspaper, or the book, or the album, the slideshow, or—occasionally—the gallery, wherever it had been hanging out until that point. And at these scales, I suspect photography was taking a lot of its cues from cinema, moving pictures. Whatever photomurals are to painting, the cutouts are to sculpture, I figured. Until I saw Matt Jones’ show, Multiverse last Spring at Freight + Volume. Jones’s plywood cutout works are photo, painting, and sculpture all at once, or in turn.”

*Cady Noland’s Tanya as Bandit, 1989, General Idea, and Guerrilla Girls at MoMA, 2010, image via greeds