Plus One Gallery artist Paul Day has spent over twenty years developing a highly personal approach to
figurative sculpture with a particular interest in representing the figure in architectural space using high - relief, an art form that combines drawn composition and fully rounded sculpture.
«Germaine Richier» will explore the daring ways in which Richier's art bridges the tradition of classical
figurative sculpture with an idiosyncratic visual language born of an anguished, searching, and, ultimately, spiritual post-World War psyche.
Elizabeth King combines precisely movable
figurative sculptures with stop - frame animation in works that blur the boundary between actual and virtual object.
For the exhibition, which first opens at Yorkshire Sculpture Park before touring to other venues around the UK, Gander has selected works from 30 different artists featured in the Collection, pairing
figurative sculptures with other artworks containing the colour blue, which to Gander represents the abstract ideas often found in modern and contemporary art.
Not exact matches
The exhibition begins on the fifth floor, entitled America Takes Command: 1950s into the 1960s,
with Abstract Expressionism, Fluxus, Junk
Sculpture, Collage and Assemblage, Anti-Art, Beat Culture, Proto - Pop, and even some
figurative painting.
Whether appropriated by some contemporary
figurative painters or aligned
with some sort of new figuration, where the painters «find everything to be a matter of images» (to quote Barry Schwabsky from the online catalogue for «A New Subjectivity»), Abstraction clearly and demonstratively engages
with the problems of painting (and collage and
sculpture) despite the surprising conservatism of Kerry James Marshall.
A key figure of Australian art since the mid-1980s, Linda Marrinon has developed an idiosyncratic language of
figurative painting and
sculpture that merges contemporary cartoons
with neoclassic tropes of the nude, reclining figure, and bust or standing portrait.
Curatorial projects include
Figurative Diaspora: The Migration of Academic Training from Russia to China in the Service of Progressive Art, Piss and Vinegar: Two Generations of Provocateurs, Beautiful Beast, a contemporary representational
sculpture exhibition, The Big Picture, and Now and Then: Drawings from the 19th Century to the Present, in partnership
with the Dahesh Museum of Art.
This Fall, the gallery will present its first solo exhibition of her work, (October 31st — December 5th)
with a meticulously chosen group of major
figurative sculptures from the 1960s and 1970s, contextualized
with drawings and works from the «Souvenir» series.
Linked by the works» engagement
with figurative representation, the show displayed a diverse range of mediums from monoprint and watercolor to photography and
sculpture, most of which explore notions relating to identity, society and isolation.
Many of her motifs are human figures and birds so
figurative, yet their gender - neutral, profound expressions remind us religious
sculptures with abstract and enigmatic quality.
Balkenhol, when shrinking the scale of his works, playfully disrupts the history of
figurative sculpture by subverting the monumentality so often associated
with it.
After leaving the field of clinical psychology in the mid-1940s, Truitt began making
figurative sculptures, but turned toward reduced geometric forms after visiting the Guggenheim Museum
with her friend Mary Pinchot Meyer to see H.H. Arnason's exhibition «American Abstract Expressionists and Imagists» in November 1961.
In their seeming lack of the kind of detail or warmth that we associate
with much of Larner's work, there is still something interestingly personified about each
sculpture, which allows them to at once appear stoic and and the same time oddly
figurative and thus in motion.
In a queer analysis of
figurative representation, emily north / em16 presents us
with two large works on paper and one soft
sculpture.
For her newly commissioned work Foreign Exchange (2015 - 17), artist Phillipa Horan worked
with a commercial biotech laboratory in Upstate New York to produce what is possibly the first large - scale
figurative sculpture grown from mycelium, the single cell root system of which a mushroom is the fruiting body.
Standout artists in the show include Tomashi Jackson, who uses Josef Albers's 1963 text Interaction of Color to explore the history of racial segregation in her painterly assemblages; David Shrobe, who creates surreal portraits by combining his
figurative paintings and drawings
with found materials; and Kennedy Yanko, who makes abstract
sculptures by blending rubbery skins of poured paint and crumpled paper
with bits of marble and scrap metal.
Featuring over 36 works, Arneson's enormous ceramic ode to his»50s - era Davis tract home, will anchor the show, together
with three Thiebaud masterworks, and three of Neri's most admired
figurative sculptures.
The Nashville - born, New York - based artist plays
with our ever - shifting opinions and perceptions of reality in optical, textural paintings made
with flashe and gesso and undulating
figurative sculptures — squashed heads, couples jogging — made in foam
with such precision that Sayer's hand is almost imperceptible.
Peter Shelton's
sculptures incorporate both abstracted and
figurative forms along
with anatomical as well as architectural motifs.
But many artists are making a kind of
figurative sculpture that feels new and transgressive, even though they're using forms and techniques associated
with academic realism.
Nathan Sawaya works
with the popular toy to create large - scale
figurative sculpture.
It's difficult to think of major female artists since the 1970s who work
with figurative sculpture in the way of a Charles Ray or a Paul McCarthy, although I can think of many celebrated female artists who have used the body in installation and performance art.
That's another reason for my physical fascination
with a certain type of
figurative sculpture.
Upritchard has been making
figurative sculptures — primarily using wire frames covered
with a polymer modeling material that is then baked and painted — since 2006.
These works, as
with so much of Gormley's oeuvre, show the artist revitalizing the practice of
figurative sculpture through his investigation of the body (often his own) as the locus of memory and transformation.
Modernist sculptors largely missed out on the huge boom in public art resulting from the demand for war memorials for the two World Wars, but from the 1950s the public and commissioning bodies became more comfortable
with Modernist
sculpture and large public commissions both abstract and
figurative became common.
His early works — a
sculpture of himself at his first communion, a tableau about bed - wetting, a cloaked shepherdess
with a lamp — were directly
figurative.
(My hope would be that this is happening in abstract
sculpture too — though
with sculptural, rather than pictorial, spatiality — but there is not really any comparable or relevant activity in how one moves through a
figurative sculpture, since it rarely has any spatiality.)
His use of classical
figurative techniques
with a honed attention to aesthetics of form and surface — such as in the velvety finished concrete or waxed iron patina surfaces of his
sculptures — reflect an embrace of the making of objects that seems refreshingly out of step
with the digital era.
From Elizabeth Jaeger's charmingly goofy
figurative sculpture (
with weaves!)
He has collaborated
with others to realize «event - based group
figurative sculptures.»
The Human Factor An exploration of today's best
figurative sculpture,
with work by Jeff Koons, Paul McCarthy, Katharina Fritsch and many more.
Also catching my eye were
figurative sculptures by Max Leiva, exhibited
with ten472 Contemporary Art (Nevada City) and Peter Demetz, exhibited
with Liquid Art System, White Room (Capri / Positano).
While Huma Bhabha is known for her
figurative sculptures, she was trained in painting and printmaking and has been working
with photography.
Ikemura shows recent landscapes done in bold tempera colors on burlap as wide as nine feet alongside
figurative ceramic
sculptures and over 30 other works in conjunction
with an exhibition, «CERAMIX, de Rodin à Schütte,» across two prominent museums (Paris's La Maison Rouge and Sèvres - Cité de la céramique).
This initiates a compelling dialogue
with the installation in the gallery's second space, in which further aluminium painting and
sculpture pairings are interspersed
with a group of
figurative photographs of the sort of life - sized rubber dolls made for shop windows or medical experiments.
Owing to the success of her
figurative work as well as her 2012 retrospective at the Museum of Modern Art in New York, the Polish artist Alina Szapocznikow is widely recognized for her uncanny mixed - media
sculptures that incorporate cast body parts
with everyday objects.
The new
figurative sculptures, shown in the front gallery space, are carved out of cork, and darkened in parts
with black paint.
The artist draws freely upon the history of
figurative sculpture, evoking Greek and Egyptian statuary, fertility icons, Rauschenberg's combines or the playfully sinister sculptural portraits of Marisol; indeed, the synthesis of science fiction, modernism and «pop»
with the distant past underlies much of Bhabha's work as evidenced in her uncanny choice of materials.
The stylistic origin is in Fritz Lang's film Metropolis (1927),
with figures that are neither abstract nor
figurative, referencing art deco to Memphis, midcentury machinery diagrams to Cycladic
sculpture.
The show's more than 400 objects include liberal and lively quantities of scruffy bricolage, bodacious
figurative sculpture, hip flirtations
with fashion and design, and some rather inscrutable instances of latter - day institutional critique.
Taking its cue from the resurgence of
figurative sculpture in the late 1980s and early 1990s, and from Sigmund Freud's essay «The Uncanny» (1919), the exhibition brings together mannequin - related art works, mostly from the 1960s onwards,
with objects from disparate cultural contexts that engender a similar sense of unease in the viewer: medical dolls, anatomical waxworks, religious statues, pagan figurines, ventriloquists» dummies, sex dolls, taxidermy and so on.
From his ceramic
sculptures that eerily resist
figurative formations
with their oozing, amorphic shapes to his multilayered mixed media paintings, Ruby's expansive body of work complicates already - turbulent nature of human mind.
Moore's work is the starting point of the exhibition,
with the
figurative curves and dips of his
sculpture synonymous
with the words «body» and «void».
He studied at the New York Academy of Art and the Pennsylvania Academy of Fine Arts — both bastions of traditional
figurative painting and
sculpture — and he paints
with his subjects arranged in frontal poses, as if for a photograph (which, since these look like paintings from photos, they probably were).
ALBERTO SAVINIO Pairing the virtuosically strange
figurative painting of Savinio — the pianist, critic and younger brother of the better known Giorgio de Chirico —
with sculptures by Louise Bourgeois.
Glamour Wig, 2005, for instance, takes a stepladder and a rock star wig to create a pastiche of a skinny, androgynous long - legged glam rock star
with a gaping mouth, mining the theatricality of the objects on display and contesting the histrionics behind the ideals of heroism and beauty that
figurative sculptures embody.
In conjunction
with these
figurative paintings, Bickerton is exhibiting a selection of new
sculptures for the first time.
Altmejd's work often draws a corollary between the body and architecture
with architectural landscape punctuated by
figurative elements or
figurative sculptures blown up to gigantic scale or infected
with inorganic material.