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Sculpture is made with two instruments and some supports and pretty air.
In Portugal, my sculpture 'She Changes' refers to the town's fishing history, to the era of seafaring trade and discovery. The contemporary site is industrial, surrounded by red and white striped smokestacks, which is mirrored in the pattern of the sculpture.
But I don't think that sculpture belongs in everyday life like a table does, or like a chair.
If Abstract Expression reached for the sublime, Pop turned ordinary imagery into icons. Roy Lichtenstein and Andy Warhol illuminated the transformative power of context and the process of reproduction. Claes Oldenburg's soft ice-cream cones and hamburgers changed sculpture from hard to soft, from stasis to transformation.
And certainly the history of public sculpture has been disastrous but that doesn't mean it ought not to continue and the only way it even has a chance to continue is if the work gets out into the public.
Chairs are like sculpture.
Painting, sculpture and architecture are finished, but the art habit continues.
I like the Alice in Wonderland sculpture in Central Park. I love how it's been rained on forever and looks worn down by time.
Talent grips us. We are overtaken by the beauty of Michelangelo's sculpture, riveted by Mariah Carey's angelic voice, doubled over in laughter by the comedy of Robin Williams, and captivated by the on screen performances of Denzel Washington.
John C. Maxwell
Colloquial poetry is to the real art as the barber's wax dummy is to sculpture.
Appropriation is the idea that ate the art world. Go to any Chelsea gallery or international biennial and you'll find it. It's there in paintings of photographs, photographs of advertising, sculpture with ready-made objects, videos using already-existing film.
The growth of art seems to be in cycles, and often its vigorous lifetime is restricted to a century or two. The periods of distinctive drama, Greek, English, Spanish, fall within such a limit; the schools of painting and sculpture likewise; and, in poetry, the Victorian age or the school of Pope will serve as examples.
George Edward Woodberry
I've noticed a lot of younger artists have less fear of doing different sorts of things, whether it's various types of music, or gallery artists moving between video and sculpture and drawing.
I love Rauschenberg. I love that he created a turning point in visual history, that he redefined the idea of beauty, that he combined painting, sculpture, photography, and everyday life with such gall, and that he was interested in, as he put it, 'the ability to conceive failure as progress.'
Sculpture occupies real space like we do... you walk around it and relate to it almost as another person or another object.
Sculpture occupies the same space as your body.
My sculpture is very personal; for years my subjects were family and close, close friends.
When a finished work of 20th century sculpture is placed in an 18th century garden, it is absorbed by the ideal representation of the past, thus reinforcing political and social values that are no longer with us.
The nearest approach I have ever seen to the symmetry of ancient sculpture was among the Arab tribes of Ethiopia. Our Saxon race can supply the athlete, but not the Apollo.
I'm in deep in everything, every moment of the day. I create the systems and oversee every aspect of the execution. Every mark on a sculpture and every brush-stroke on a painting is in a controlled situation, exactly as they'd be if I'd have done them myself.
Whether you listen to a piece of music, or a poem, or look at a picture or a jug, or a piece of sculpture, what matters about it is not what it has in common with others of its kind, but what is singularly its own.
I paint - I tend more to abstraction - but not as much as I would like to because of time. I would love to do sculpture - I've toyed with the idea of fitting in a sculpture course.
The paintings to me are always canvas; sculpture has always been metal, though I have made sculpture in wood, also.
Sculpture will last a lot longer than painting.
I'm quite sure that all true professional artists, of every description, in all walks of life, whether their craft is painting, music, sculpture, medicine or anything, have one primary concern - mankind.
At a certain point, I just put the building and the art impulse together. I decided that building was a legitimate way to make sculpture.
A. P. J. Abdul Kalam
Leonardo da Vinci
Martin Luther King, Jr.
Image of the Moment
Nothing fixes a thing so intensely in the memory as the wish to forget it.
Michel de Montaigne
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