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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.
I love reality TV and everything, and it's something that I truly love to do, and I love the outcome of it; it's like my art. I consider my reality show as my art piece, and it's like a sculpture that I built; it's my baby.
Lou Tyrrell has created a theatre that is a safe haven for playwrights, a birthing center for new American writing. Arts Garage has created a vital, enthusiastic audience for theatre, music, painting and sculpture in Delray Beach.
So, in other words, how you respond to a sculpture, how a viewer sees the sculpture, is vital.
Sometimes people damage paintings or sculpture because they love it. They throw their arms around a statue in a fit of hysterical passion and it falls over.
I went to a school in N.Y. that is conceptual and interdisciplinary and modeled after Cal Arts. It is not just painting or sculpture; it was everything mixed together.
Art works because it appeals to certain faculties of the mind. Music depends on details of the auditory system, painting and sculpture on the visual system. Poetry and literature depend on language.
A well-designed home has to be very comfortable. I can't stand the aesthetes, the minimal thing. I can't live that way. My home has to be filled with stuff - mostly paintings, sculpture, my fish lamps, cardboard furniture, lots of books.
Somebody informed me recently that the key to every art, from writing to gardening to sculpture, is creativity. I beg to differ.
Roy Blount, Jr.
Every model is a living sculpture - art in-vivo.
Take a relief. You draw it, you carve it out. Later you build it up from a flat surface. There is no other way to do a sculpture - you either add or you subtract.
Sculpture is made with two instruments and some supports and pretty air.
That's why I ended up going to Lancaster University, because they had a visual arts course, and in the first year it was like a broad visual arts course in sculpture, painting, graphics - all of that.
I got so I was really just sick of sculpture.
The first piece I ever collected was a Roy Lichtenstein: a sculpture called 'Surrealist Head II'. There was a waiting list. I remember Steve Martin wanted one, and I wanted one. I got the 'Surrealist Head', and I was thrilled.
From time to time, I've experimented with sculpture or metal design. It's a good break from just sitting behind the keyboard.
I really don't have a theme when I start a sculpture. The rock guides me to the final sculpture. I think that is true for many creative sculpture artists.
Jimmy Carl Black
In the studio, I don't do a lot of work that requires repetitive activity. I spend a lot of time looking and thinking and then try to find the most efficient way to get what I want, whether it's making a drawing or a sculpture, or casting plaster or whatever.
How do you make the timelessness of inert, silent objects count for something? How to use the, in a way, dumbness of sculpture in a way that acts on us as living things?
Writing for me is quite a plastic form, a kind of mental sculpture, although that sounds weird. It acquires its character and its depth as it goes along.
I used to think that the great thing about sculpture was that, like Stonehenge, it was something that stood against time in an adamantine way, and was an absolute mass in space. Now I try to use the language of architecture to redescribe the body as a place.
All my life as an artist I have asked myself: What pushes me continually to make sculpture? I have found the answer. art is an action against death. It is a denial of death.
Well, I never studied design and I went to art school to study art, you know, sculpture and things like that, and ended up making things like sculpture and started making chairs and jewelry together and that's how I started.
I believe people can have a profound experience by being surrounded by something beautiful - that's what I aim for. My sculpture is about the way you feel when you're standing under it and inside it. It's experiential art.
I really became convinced I wanted to tell the story of the real-life model for the Degas sculpture 'Little Dancer Aged 14,' which was unveiled in 1881, the Belle Epoque.
Cathy Marie Buchanan
John F. Kennedy
Martin Luther King, Jr.
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