In Cave's sculptures (pictured above), found post-slavery objects like spittoons and
lawn jockeys that archly connect blacks to servitude are camouflaged with dense frameworks of ceramic birds and plants and porcelain fruit.
Until begins with a dense sculptural field of metallic lawn ornaments leading to a crystal cloud topped by a private garden populated with birds, flowers, and black - face
lawn jockeys, finally coming to rest before a cliff wall constructed of millions of plastic pony beads.
It will lead visitors on a path through an enchanted but menacing landscape featuring, among other things, 17 black - faced
lawn jockeys on a crystal cloudscape 18 feet in the air; 20,000 whirling wind spinners; a «waterfall» of shimmering foil - like strips; a thousand or so intentionally garish ceramic tchotchkes; and several million beads, some of which will comprise shimmering mountains.
For the piece Nick Cave and his curators and assistants have gathered 16,000 wind spinners; millions of plastic pony beads; thousands of ceramic birds, fruits, and animals; 1 crocodile; 17 cast - iron
lawn jockeys — and so much more.
Willie Cole is best known for assembling and transforming ordinary domestic and used objects such as irons, ironing boards, high - heeled shoes, hair dryers, bicycle parts, wooden matches,
lawn jockeys, and other discarded appliances and hardware, into imaginative and powerful works of art and installations.
Ms. Markonish saw a previous piece of Mr. Cave's at Jack Shainman Gallery in New York that involved
a lawn jockey — the first time he had ever used one — and she requested a meeting with him.
When she arrived, the house had a sign saying «white trash,» and she had to tell the owner, «I'm here to pick up
the lawn jockey.»
They or Joseph Zito might have supplied
the lawn jockey in a gas mask, holding a phone as if he or you were waiting for the call.
Not exact matches
The
jockeys appear to have a special symbolism for Mr. Cave, though he said he did not see a lot of them on
lawns when he was growing up in Missouri in the 1960s — «thank god,» he added.