Carl Andre: Sculpture 1959-78 (Exhibition, White Chapel Art Gallery London) (1)
-Andre describes the development of his own and 20th Century sculpture as a change of interest from, 'sculpture as form' to 'sculpture as structure' and finally, 'sculpture as place'.
-His exhibition presents quantity, sequence, sense and order an enactment which encouraged the audience to walk over the art and look beyond it, a variable I would like to explore in sculpture.
Anthony Caro and David Smith.
-Caro's steel construction, real space and abstract form shows a comparable to Smith's non-relational pragmatic principle of 'one thing after another'. Caro's neat weld or blatant bolting contrasts between the structurally self-evident intuition of Smith's, thereby shaking off the fussy, 'relational' charactaristics.
- Another comparison I have thought about for my own sculptural works has been the use of real space. As in Caro's 'no bases' - direct to the ground; space being occupied by the sculpture as opposed to Smith's, being presented on a base. I have so far explored both aspects in my sculptural works. Both have been an intuitive process.
Ralf Broeg.
-Broeg came to the University of Sunderland to give an artists talk and also, I was lucky enough to have a tutorial with him recently. A sculptor and lecturer, Broeg's practice consists of geometrical forms within architecture, sculpture and installation. Broeg's idea of taking a very well known piece of art and design work by Piet Mondrian (Composition ii in Red, Blue and Yellow 1930) and using that design as a basis for his own work really has the edge with me in my own design work, as something I had already considered and executed in the initial stages of this project.
-Broeg demonstrates that a copy can be more than simply the duplication of a particular quality or idea. It is another kind of recording, produced in another social or artistic complex, from another material, adopting other kinds of aesthetic strategies. This truly resonates in my artistic practice. I will continue to use my work in other areas of media to adopt these strategies.
Alexander Calder.
-Calder first started working with sculpture as mechanical abstract forms using wire and other household objects to create shapes that acted as 'drawings' of people and animals. Linear scupltures would be reinvented into hanging scupltures, prints or paintings.
- I really like the idea of creating more from my sculptural work in the form of digital and print. (see previous posts) Focusing more on the abstraction of the shapes in the sculpture more so than the representational form. Although Calder's work explores the use of bright bold colours this is something I have yet to explore, something that I have no urgency to do so but may well in the second phase of this project.
My interest in......'Unmonumental. The object in the 21st Century.....
Few snippets from the book...... a bit 'uncanny'
Reality is a collage composed of whatever grabs our attention, and the compensation is limitless.
Essential sculpture is testing all the limits.
Sculpture is the medium that knows best how to live in the present and find the future.
Our time demands the anti-masterpiece. Things that are cobbled together , pushed and prodded into a state of suspended animation feel right.
Public art
Montage
photographic
digital