Archive for the ‘Sculpture’ Category

Object as Insight: Japanese Buddhist Art and Ritual

Saturday, June 1st, 1996

Bodhisattvas with serene, all-embracing smiles; golden flower baskets for carrying lotus petals to purify a sacred space; ritual bronze chimes adorned with peacocks. “Each article is incredibly beautiful, but it’s only when all the articles come together, evoking the presence of the Buddha, that you can understand Buddhist art.”

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The Fire of Hephaistos

Wednesday, May 1st, 1996

These ancient bronzes, which have long since lost their golden gleam, are still numinous fragments of a vanished world. One statue of young man was recently pulled out of a river; his pale sea-green body is scratched and scarred; but he is still a lovely apparition, reminding me of some lines from Shakespeare’s “The Tempest”:
“Nothing of him that doth fade
But doth suffer a sea change
Into something rich and strange.”

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Judy Kensley McKie

Saturday, December 2nd, 1995

Working in bronze, that most ancient and enduring of materials, JUDY MCKIE’s work reveals the power of art to console and heal. Her Bird Fountain has the silent, soaring presence of great mourning monuments. “The water makes you feel calm and peaceful,” she says. “It’s nourishing. A life force.”

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Dialogue: John Wilson/ Joseph Norman

Friday, September 1st, 1995

JOHN WILSON is a classically trained artist whose life’s work has been a search for enduring, spiritually charged images of African-Americans. JOSEPH NORMAN weaves together all kinds of imagery into elaborate compositions that are elegant, yet full of feeling. “For both of these artists, art remains an important way to think about what it means to be human and to have an inner life.”

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Bernd and Hilla Becher

Saturday, December 21st, 1991

Bernd and Hilla Becher photographed blast furnaces, water towers, power stations, and other industrial structures, which they called “anonymous sculpture.” I thought of this show again when I first read W.G. Sebald’s books — mysterious, elusive, and strangely moving.

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Lazlo Moholy-Nagy’s Light-Space Modulator

Friday, October 4th, 1991

“When the “light prop” was set in motion for the first time in a small mechanics shop in 1930, I felt like the sorcerer’s apprentice. The mobile was so startling in its coordinated motions and space articulations of light and shadow sequences that I almost believed in magic.”

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Fragments of Antiquity

Friday, June 21st, 1991

All that we know of Greece has come to us in ruins–armless, headless, faded, fallen, broken, battered, lost in translation. What we have are fragments, fragments that have lost almost everything–except their poetry. But, generation after generation, that poetry has never lost its thrilling, visionary gleam.

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When We Dead Awaken

Thursday, February 21st, 1991

A neon blue river of light crosses the stage on a diagonal. A black mountain looms beyond, pierced by a stark white waterfall. The sculptor sits brooding on a rocky throne; an egg-shaped stone is pierced with a spear. Two Irenes enter, and lie on the ground, like stones. “You have killed my soul,” they cry. “I am an artist!” cries the sculptor. One Irene sits on the rock, like a statue. “I was a human being too.”

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Chuck Holtzman

Wednesday, November 7th, 1990

His sculpture is like a very sophisticated game of musical chairs, where all the pieces come together for a moment of perfect, precarious balance. In his drawings, the charcoal keeps on dancing, long after the music stops.

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Martin Puryear

Monday, July 9th, 1990

His falcons are elegant objects, yet they are also birds of prey. They are chained to a perch, dreaming of flight; perfectly at rest, yet poised to spread their wings and reach for the sky. His art conveys a sense of scraping away and discarding everything that is not essential – of travelling light, like a nomad, and soaring high, like a bird.

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John Udvardy

Monday, November 2nd, 1987

Sculptor JOHN UDVARDY sees the aesthetic possibilities in an old whittled paddle or a forked birch branch, and he knows how to make a curve from a green sapling. But most of all, he brings to his materials a feeling that every mark matters: every stick, every thread, every shell, every bone.

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