Artists who make figurative
with expressive poses
a brief biography and a photo of one of
his realistic cast sculptures of people in the Bronx.
a profile of Claudel and a discussion of the misattribution of some
of her work to Rodin
photos of Claudels work
of Hansens superrealist everyday people
ARTCYCLOPEDIA to find photos of Jimenezs colorful, monumental
each page includes a brief biography and image of this African American
artist, also photos of her carved marble sculptures
de Rodin, artist biography and many photographs and descriptions
Artists who have made sculptures of
Smithsonian Magazine article and pictures of Goldsworthys
temporary artworks created from natural materials
use ARTCYCLOPEDIA to find biographies and photographs of assemblage
sculptures by this enigmatic African American conceptual artist
of a variety of the psuedo-kitsch work of Koons
use ARTCYCLOPEDIA to find use photographs
of Mendietas works, which explore the female form in relationship
to the landscape and elements such as earth and fire
photograph of her famous surrealist object, the fur lined teacup
and spoon. in a great list of women artists, Medieval to Modern
700 Women Artists through Time
surrealist site with a number of Oppenheim works--The Department
of Objects and Delusions
photograph of Mark Quinns eerie self-portrait head cast in
overview of her 30 year retrospective, including her mixed media
works that Schapiro termed "femmage" because they were
assemblages that made use of traditional womens materials
such a fabric and crochetwork.
Andy Goldsworthy makes temporary sculptures
in nature. He uses found materials such as rocks, leaves, twigs,
and feathers. He doesn't use any glue or nails to create the artwork.
His pieces are held together by balance, by interweaving branches,
and by using ice or water as an adhesive. His work is mostly known
through his photographs. After he has photographed a work he leaves
it to deteriorate and return to a natural state.
"Fixed ideas prevent me from seeing clearly. My art makes me
see again what is there, and in this respect I am also rediscovering
the child within me. In the past I have felt uncomfortable when
my work has been associated with children because of the implication
that what I do is merely play. Since having children of my own,
however, and seeing the intensity with which they discover through
play, I have to acknowledge this in my work as well.
"I had to forget my idea of nature and learn again that stone
is hard and in so doing found that it is also soft. I tore leaves,
broke stones, cut feathers. . . in order to go beyond appearances
and touch on something of the essence. I would often start by clearing
a space in which to work and put things - place was as closely cropped
as the material.
"I cannot disconnect materials as I used to. My strongest work
now is so rooted in place that it cannot be separated from where
it is made - the work is the place. Atmosphere and feeling now direct
me more than the picking of a leaf, stick, stone . . .
"Inevitably materials and places gather associations and meanings
as my work develops, but in ways that draw me deeper into nature
rather than distracting me from
it. What I could previously see only by working close up is now
also visible to me from a distance. I now want to understand the
untorn leaf, the uncut feather, the uncleared space . . . and to
perceive all materials as the same energy revealed differently.
"I do not simply cover rocks. I need to understand the nature
that is in all things. Stone is wood, water, earth, grass . . .
I am interested in the binding of time in materials and
places that reveals the stone in a flower and the flower in a stone.
"It is difficult for a sculptor to work with petals, flowers
and leaves because of their decorative associations. I cannot understand
nature without knowing both the stone and the flower. I work with
each as they are - powerful in their own ways - the flesh and bones
Andy Goldsworthy from Stone,
Harry N. Abrams, Inc., 1994
Jeff Koons has created many sculptures of familiar
consumer goods - mylar balloon rabbits, Popples stuffed animals,
and kitschy figurines. The shock of this work comes from making
these things in durable refined artist materials. What does it mean
to have a bunny balloon made in beautiful and durable stainless
steel or to make a Popples in delicate porcelain?
"In terms of first-person experience,
I still recall the shock of my initial confrontation with Koons's
lovingly hideous and accurate reconstructions of the lowest levels
of three-dimensional kitsch, from porcelain Pink Panthers and Popples
to painted wooden bears and angels. We all, of course, have been
seeing this kind of stuff for years in every shopping centre and
tourist trap, but never before have we been forced, as one is in
a gallery setting, to look head on and up close at its mind-boggling
ugliness and deliriously vapid expressions."
Robert Rosenblum from The Jeff Koons Handbook,
Rizzoli, New York, 1992.