Quote of the Day
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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.
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.
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.
From time to time, I've experimented with sculpture or metal design. It's a good break from just sitting behind the keyboard.
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.
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 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
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.
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?
You wouldn't ask Rodin to make an ugly sculpture, or me to make a film with an ugly woman.
I started doing sculpture in 1959. I had no commissions then. They were painted, similar in style to the paintings... At a certain point, I decided I didn't want an edge between two colors, I wanted color differences in literal space.
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.
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
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'd been to Stourhead and was inspired by the perfect parity between architecture and art; in fact, the architecture is the art. I wrote a piece called 'Not Sculpture Park,' because most of these things become car parks for bought-in sculpture. The artists should be working with the site, not just plonking pieces down.
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.
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.
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.
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.
John F. Kennedy
Martin Luther King, Jr.
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