Thanks Psyarch ,
Now I begin to feel stupid because I dont know how to use the code ( happens all the time whith me) . I am old and worn out , too many stupid ideas and the worst thing is I am an (ex )sculptor and not an architect .And I wanted to post a picture of a sculpture which took me 4 years to make , could be great or complete bullshit, but ofcourse you can not say that I am my own favorit modern sculptor , and ofcourse I am not . so the code prevented this, from happening ,
For the rest it strikes me that maybe the best sculptures at the moment are some buildings .
Is it the influence of Catia and programs like this who makes more possible in the communication between architects and builders or is it more freedom in the minds ot the archtects or both or or , and .
Skunst - the image that you want to use needs to be posted somewhere else on the internet, if you go to that page and right click on the image then one of your options is "copy link location". that is what you paste after the first ']' and before the second '['.
Thanks again Psyarch , I try to find the page but I endup on the site of some cruiseline company (allmost send my picture there . so what is the exact adress for sending image.( not :" www.image.com)
I had to put the pictures of the sculpture in the imagegallery " visual stimulis " instead of here , just couldnt get them inhere .
I am fully aware of the fact that I take the risk of becoming well know/famous and rich now , and have to pick up sculpturemaking busines again.
Vote on the pictures , let me know what you think.
It can be so fucking frustrating that you try to communicate through sculptures and in the end allmost nobdy has ever seen them . public relations what the F. are you talking about.
other sid
This is a worldsculpture , it can be undertood/misunderstood by every culture around the world. So it deserves a place in a beautiful building.
A big compliment to hear that , nevermore .You are right in referring to aztec/maja/inca art . The sculpture is open to many interpretation, more people had the same association .strange enough also whith sciencefiction or virusses or strongly enlarged microbes .
Its marble . worked on it for 4 years fulltime .
starting whith a small sketch on one side . no model before ,was a big adventure whith ups and downs .
Thats life , in the "creative busines" we create our own problems we have to solve.
here is another side , its extreme wideangle so a bit deformed.
it has also the association whith intestions /crabs and animals like that , and there is an elephant .
So sorry you guys I screwed up – we got to talking this morning and my husband informed me it wasn't Tim Hawkinson who made the ripped piece of paper that so entranced me, it was Tom Friedman. Obsessive re-working of quotidian materials. Here are some images:
after scrolling along for several minutes in a scupture- and dialog-inspired buzz, i was rudely shocked back to the reality: some artists and consumers of art have no ability to distinguish good from bad.
this seems purely subjective, as nevermore said above, and i won't begin right now to try to parse it, but it becomes very clear when you open the link for wild style inc. shame on you snooker. i cringe just thinking about it; refuse to open it again. it's like what someone might make in summer camp crafts class.
beware anyone who opens the link: DON'T scroll down to see the 'architecture'!
Steven, Sorry to tell you this guy is real. He is out there doing his thing and really doesn't give a damn what people think, just letting his mind go with the creative flow.
Libertybell> Sculpture is about how your body is affected by the way the sculpture affects space.
That can be said on just about anything.
And that's not definitive of all sculpture.
The prime criterion of the Classical culture was the "point-present" concern; the awe with the immediate, the nearby, the space of logical visibility - meaning, an affectation with 'time', not space.
Every Greek statue was meant to stand as a symbol of the pure-present.
And more importantly also, as Spengler noted,
"In no Classical art-work is a relation with the beholder attempted, for that would require the form-language of the individual object to affirm and to make use of the existence of a relation between that object and ambient unlimited space. An Attic statue is a completely Euclidean body, timeless and relationless, wholly self-contained.
It neither speaks nor looks.
It is quite unconscious of the spectator.
Unlike the plastic forms of every other Culture, it stands wholly for itself and fits into no architectural order..." [Decline, I]
He goes on to cite the Doric column as an example of the pure-present intensity;
"...the Doric column, in itself predicates the negation of time (of direction).
For Herodotus and Sophocles, as for Themistocles or a Roman consul, the past is subtilized instantly into an impression that is timeless and changeless, polar and not periodic in structure..."
Sculpture then, neither intended an audienceship, nor a concern with space.
Experiencing something via a space-feeling is a perspectival product of modern day Faustianism. If you say,
'Sculpture is about how your body is affected by the way the sculpture affects space.',
- you are merely importing your present day sensibilities onto sculpture.
To me,
In ancient Greece the sculptor was enagaged in the art of attempting to represent a god in bronze.
Sculpture begins not in craftsmanship [surely just a means anyway], but in worship.
The sculptor was always working within the milieu of awe, religiosity and tradition; by so doing he glorified the *Race* who were the off-spring of said gods, be it in archaic Greece or in India.
Individualism was abhorred; look at how Homer is dissolved almost annonymously in Homeric poetry... what mattered was
"SELF-expression" as a race, as a whole, not as an individual.
How can we really understand this when we have had something like 20 centuries of an emaciated and defeated Semitic 'god on the cross'?
I am pained.
I should say, I joined this forum "only" to reply to this thread. I almost got an asthmatic attack looking at all the examples!
I would say, the sculptures of Breker or Thorak alone would justify the 20th century or the third-reich period. And the columns of Trajan's rule, the legacy of a powerful Roman spirit.
Can a Tim hawkinson or the sundry other sculptors cited here justify the 21st century in any way?
Such warped individualistic "self-expressions" are morbid because they just reflect the warped individualistic-politics of our time.
I dare to deny such degenerate art, recognition, as exhibits of true sculpture.
And no amount of twee suggestions on how such trash-pop-art of the mobocracy "ought to be experienced" can make the slightest difference to what they are.
As the Duke of Wellington quipped, a dog being born in a stable does not make it a horse.
Heimarmene, I'm glad you joined this discussion and obviously you have a new perspective to add to it. I don't have time today to go much farther into it - I'm at the office, of course, and need to get home to my family - but I hope we can develop a conversation over the next few days.
My definition of sculpture relating to a viewer's body in space was intended more to differentiate sculpture from what could arguably be termed more "purely visual" art such as painting and photography (yes that's an entirely additional discussion that let's try to avoid being distracted by at the moment).
So here is a question, and it's serious, not flip: if I understand (through formal education) the intent/meaning of Classical sculpture, and I understand that I occupy a time/place that is different (though perhaps a historical progression) from Classical sculpture's time/place, does recognizing a difference in any way inhibit my ability to understand "contemporary" sculpture?
Is it wrong to use present-day sensibilites to assess present-day product, given that I also have a knowledge of the art history that led to this moment?
Pardon that brilliant critique!, but that was my most generous one.
No offence.
Your piece is quite meaningful. It depicts a linear progression from the primal unconscious of a space-nymph to a consciousness, cut across segments of a cyclic time, except I can't quite say if that's a womb or a vertical tomb with the 4 rigid bodily forms on the one side unwinding themselves on the other side of the world... like a portal showing both;
Composition or decomposition and/or both - the mystery of life and death... maybe that's why Truth is a veiled woman, and we are cautioned not to lift those veils...
Such warped individualistic "self-expressions" are morbid because they just reflect the warped individualistic-politics of our time.
I would rather live in our time than in those days gone past. Think about it, it really isn't that bad. I'm glad humans still have the courage, ability and desire to create. It is with this energry we move forward as a human race.
The plither of what is good and what is bad really does not matter. It was but a few months ago and I was in the private gallery of a collector of sculpture. It is funny cause I have yet to see even one of the artist in his collection being brought forth here. Is it because his ablity to spend millions on art gives him a different perspective than mine as a lowly architect.
thanks very much for your reaction ,
you are a good observer.
Every time one get a good comment one learnd.
The sculpture is ment to have this quality of a mixture of beauty and uglynes , smooth shining intestines .
Something not to be shown something hidden , maybe , and apparently it was hidden in my mixed up mind , and came out in this shape .
Will not happen to you in all that bright shining light around you.
But maybe you are the onlyone that sees it.
thanks very much for your reaction ,
you are a good observer.
Every time one get a good comment one learnd.
The sculpture is ment to have this quality of a mixture of beauty and uglynes , smooth shining intestines .
Something not to be shown something hidden , maybe , and apparently it was hidden in my mixed up mind , and came out in this shape .
Will not happen to you in all that bright shining light around you.
But maybe you are the onlyone that sees it.
liberty bell> if I understand (through formal education) the intent/meaning of Classical sculpture,
Exactly; you can only "understand" them - their intent/meaning/purpose, etc., but would it be fair to say you could "experience" them as they did? And then to posit a definition based on understanding is one thing, and based on experience is another, I think.
At the most, we can only speak of a re-cognit-ion by instinct.
Heidegger (in 'The Ister', p.16) explains that the symbol, from Greek 'symbolon' derives from 'symballein', which he says, means "to bring together, to hold the halves of a ring against one another and to test whether they fit and belong to one another. The "symbol" is a sign of recognition that demonstrates and thereby legitimizes a belonging together."
Experience (cf. 'versucht' : experience/experiment/test/tempt/attempt ) - I think can be such a kind of recognition at the most.
> Is it wrong to use present-day sensibilites to assess present-day product, given that I also have a knowledge of the art history that led to this moment?
But you weren't assessing what a sculpture is present-day, you seemed like you were speaking for sculpture as a whole. And I found that limiting.
snooker> I would rather live in our time than in those days gone past. Think about it, it really isn't that bad. I'm glad humans still have the courage, ability and desire to create. It is with this energry we move forward as a human race.
That isn't enough. The desire to create WHAT? the "for what" is what matters. Does life ascend with it or descend with it...?
> The plither of what is good and what is bad really does not matter.
That is a defeatist, indifferent attitude, and I don't partake of that.
Value-judgements are as serious as life-determining.
In short, I would say, whether its sculpture, or art, or anything else, true and noble beauty knows when to say "enough", while barbarism continues on, clamouring for more. That's one standard of assessment I believe in.
> It was but a few months ago and I was in the private gallery of a collector of sculpture. It is funny cause I have yet to see even one of the artist in his collection being brought forth here. Is it because his ablity to spend millions on art gives him a different perspective than mine as a lowly architect.
Because of the mutability of language, Modern might be mistaken for Contemporary (though the latter, in art history terms, is generally taken as being after 1980), but it sure ain't classical...
Its better than what Danto said, "you can't say something's art or not art anymore. That's all finished."
I believe one can still say what's art and what's not art, when you can plainly differentiate between what's really "art" and what's merely "artistic need".
As to relevance, no matter how much a word changes in use-meaning, it still cannot escape from its ancestry; a parable.
The seeds of a noble culture are indestructible, they revivify; Jung described this as like a riverbed - the river may run dry [or flood], but the river bed is always there.
The very Classical ethos is a 'more lasting than bronze'.
The tendency of Modernism to move into 'self-conscious Kitsch' shows that it became aware of its short termism, and tried to pre-empt it - indeed the English philosopher R.Scruton calls much Modernism 'pre-emptive Kitsch'.
"With every individual artwork I ask, has hunger or superabundance created this ?" [Nietzsche]
> Can we all refer to the title of this discussion:
favourite modern sculptor.
"My process is additive, using predominately, but not exclusively, stainless steel. My imagery is often based on music or its corollary - dance, and the paradox of time. I think of my work as haiku - the crystallization of an instant of insight which might otherwise be swept away." http://studioatelfway.com/about.htm
I remember someone telling me four years back, "there is more REAL CRUELTY in the delicacy of a Mozart, than in all the brutal posturing of hip hop!", lol,
Mozart - symphony in G minor, no. 40: http://www.slovak.com/trencin/sculpture.html
Today I listened to mozart messe in c minor part six , the largo (loud)
And looked at the same time to fotos of the Phaeno building by zaha Hadid
Then repeated for 10 times a small part of a song by public enemy : "terminator ex" :second 30 -36 .
Try it then there is no need to use drugs anymore .
Who is your favorite modern sculptor ?
Paul McCarthy
Thanks Psyarch ,
Now I begin to feel stupid because I dont know how to use the code ( happens all the time whith me) . I am old and worn out , too many stupid ideas and the worst thing is I am an (ex )sculptor and not an architect .And I wanted to post a picture of a sculpture which took me 4 years to make , could be great or complete bullshit, but ofcourse you can not say that I am my own favorit modern sculptor , and ofcourse I am not . so the code prevented this, from happening ,
For the rest it strikes me that maybe the best sculptures at the moment are some buildings .
Is it the influence of Catia and programs like this who makes more possible in the communication between architects and builders or is it more freedom in the minds ot the archtects or both or or , and .
Skunst - the image that you want to use needs to be posted somewhere else on the internet, if you go to that page and right click on the image then one of your options is "copy link location". that is what you paste after the first ']' and before the second '['.
I wanna see it.
Ann Hamilton
Thanks again Psyarch , I try to find the page but I endup on the site of some cruiseline company (allmost send my picture there . so what is the exact adress for sending image.( not :" www.image.com)
I had to put the pictures of the sculpture in the imagegallery " visual stimulis " instead of here , just couldnt get them inhere .
I am fully aware of the fact that I take the risk of becoming well know/famous and rich now , and have to pick up sculpturemaking busines again.
Vote on the pictures , let me know what you think.
It can be so fucking frustrating that you try to communicate through sculptures and in the end allmost nobdy has ever seen them . public relations what the F. are you talking about.
all the best to you
Skunst
testing
test 2
finaly my beloved sculpture test3
now then
a better pictire no title 220x110x100cm
other sid
This is a worldsculpture , it can be undertood/misunderstood by every culture around the world. So it deserves a place in a beautiful building.
very nice ( interesting ) skunst.
for a small moment there..after first looking at your work,I got visions of Aztec/mayan/inca art
something like these...
good work man.
P.S ( which material ? )
.
A big compliment to hear that , nevermore .You are right in referring to aztec/maja/inca art . The sculpture is open to many interpretation, more people had the same association .strange enough also whith sciencefiction or virusses or strongly enlarged microbes .
Its marble . worked on it for 4 years fulltime .
starting whith a small sketch on one side . no model before ,was a big adventure whith ups and downs .
Thats life , in the "creative busines" we create our own problems we have to solve.
here is another side , its extreme wideangle so a bit deformed.
it has also the association whith intestions /crabs and animals like that , and there is an elephant .
An innocent question- whats the difference between Architectural installations and a Post modern understanding of a sculpture?
So sorry you guys I screwed up – we got to talking this morning and my husband informed me it wasn't Tim Hawkinson who made the ripped piece of paper that so entranced me, it was Tom Friedman. Obsessive re-working of quotidian materials. Here are some images:
Self-portrait carved out of a single aspirin
cylinder made of hole-punched text
Just an opinion..I think your sculpture would have looked good if it was in black colour or some drak hue.just thinking aloud.Dunno
skunst--you worked for 4 years on that ?Man..you really are a dedicated and passionate individual.
you wrote--Thats life , in the "creative busines" we create our own problems we have to solve.
No friend, I beg to differ.."In reality we are ,in truth..the truth that we seek ".
i'll toast to you tonight buddy !
p.s--> Meta, Ditto to that question, refer to the first page of this thread .
after scrolling along for several minutes in a scupture- and dialog-inspired buzz, i was rudely shocked back to the reality: some artists and consumers of art have no ability to distinguish good from bad.
this seems purely subjective, as nevermore said above, and i won't begin right now to try to parse it, but it becomes very clear when you open the link for wild style inc. shame on you snooker. i cringe just thinking about it; refuse to open it again. it's like what someone might make in summer camp crafts class.
beware anyone who opens the link: DON'T scroll down to see the 'architecture'!
Steven, Sorry to tell you this guy is real. He is out there doing his thing and really doesn't give a damn what people think, just letting his mind go with the creative flow.
Libertybell> Sculpture is about how your body is affected by the way the sculpture affects space.
That can be said on just about anything.
And that's not definitive of all sculpture.
The prime criterion of the Classical culture was the "point-present" concern; the awe with the immediate, the nearby, the space of logical visibility - meaning, an affectation with 'time', not space.
Every Greek statue was meant to stand as a symbol of the pure-present.
And more importantly also, as Spengler noted,
"In no Classical art-work is a relation with the beholder attempted, for that would require the form-language of the individual object to affirm and to make use of the existence of a relation between that object and ambient unlimited space. An Attic statue is a completely Euclidean body, timeless and relationless, wholly self-contained.
It neither speaks nor looks.
It is quite unconscious of the spectator.
Unlike the plastic forms of every other Culture, it stands wholly for itself and fits into no architectural order..." [Decline, I]
He goes on to cite the Doric column as an example of the pure-present intensity;
"...the Doric column, in itself predicates the negation of time (of direction).
For Herodotus and Sophocles, as for Themistocles or a Roman consul, the past is subtilized instantly into an impression that is timeless and changeless, polar and not periodic in structure..."
Sculpture then, neither intended an audienceship, nor a concern with space.
Experiencing something via a space-feeling is a perspectival product of modern day Faustianism. If you say,
'Sculpture is about how your body is affected by the way the sculpture affects space.',
- you are merely importing your present day sensibilities onto sculpture.
To me,
In ancient Greece the sculptor was enagaged in the art of attempting to represent a god in bronze.
Sculpture begins not in craftsmanship [surely just a means anyway], but in worship.
The sculptor was always working within the milieu of awe, religiosity and tradition; by so doing he glorified the *Race* who were the off-spring of said gods, be it in archaic Greece or in India.
Individualism was abhorred; look at how Homer is dissolved almost annonymously in Homeric poetry... what mattered was
"SELF-expression" as a race, as a whole, not as an individual.
How can we really understand this when we have had something like 20 centuries of an emaciated and defeated Semitic 'god on the cross'?
I am pained.
I should say, I joined this forum "only" to reply to this thread. I almost got an asthmatic attack looking at all the examples!
I would say, the sculptures of Breker or Thorak alone would justify the 20th century or the third-reich period. And the columns of Trajan's rule, the legacy of a powerful Roman spirit.
Can a Tim hawkinson or the sundry other sculptors cited here justify the 21st century in any way?
Such warped individualistic "self-expressions" are morbid because they just reflect the warped individualistic-politics of our time.
I dare to deny such degenerate art, recognition, as exhibits of true sculpture.
And no amount of twee suggestions on how such trash-pop-art of the mobocracy "ought to be experienced" can make the slightest difference to what they are.
As the Duke of Wellington quipped, a dog being born in a stable does not make it a horse.
Roman Mode.
Trajan's Jupiter Column Jupiter:
http://www.indiana.edu/~leach/c414/2005/jupicol1.jpg
http://www.indiana.edu/~leach/c414/2005/jupicol2.jpg
I find this so moving...
Soldiers cutting wood for a fort:
http://www.indiana.edu/~leach/c414/net_id/rome/trajanforum/column32.jpg
Jupiter hurling a thunderbolt against the Dacians:
http://www.indiana.edu/~leach/c414/net_id/rome/trajanforum/column35.jpg
Dacian women torture Roman prisoners:
http://www.indiana.edu/~leach/c414/2005/trajcol3.jpg
Burning of a Dacian fort:
http://www.indiana.edu/~leach/c414/net_id/rome/trajanforum/column24.jpg
Rome, Trajan, beginning of a campaign:
http://www.indiana.edu/~leach/c414/net_id/rome/trajanforum/column1.jpg
McDonaldization Mode.
The closest to today's such noble columns I can come up with :
http://www.dgolds.com/oldsite/London/Images/012_Gun_Rack__Royal_Armories.jpg
http://www.dgolds.com/oldsite/London/Images/011_Gun_Rack__Royal_Armories.jpg
Yea, that's the closest I can come to!
Atleast the heart's in the right place, lol
h-mene -
re:a dog being born in a stable does not make it a horse
the art world blew past that boundary in 1917 (if not before).
your 'daring to deny' is irrelevant.
Heimarmene, I'm glad you joined this discussion and obviously you have a new perspective to add to it. I don't have time today to go much farther into it - I'm at the office, of course, and need to get home to my family - but I hope we can develop a conversation over the next few days.
My definition of sculpture relating to a viewer's body in space was intended more to differentiate sculpture from what could arguably be termed more "purely visual" art such as painting and photography (yes that's an entirely additional discussion that let's try to avoid being distracted by at the moment).
So here is a question, and it's serious, not flip: if I understand (through formal education) the intent/meaning of Classical sculpture, and I understand that I occupy a time/place that is different (though perhaps a historical progression) from Classical sculpture's time/place, does recognizing a difference in any way inhibit my ability to understand "contemporary" sculpture?
Is it wrong to use present-day sensibilites to assess present-day product, given that I also have a knowledge of the art history that led to this moment?
"This insignificant stone is indeed of trifling value,
It is despised by fools, the more cherished by the wise."
- Arnold of Villanova
@skunst,
That sucks.
Pardon that brilliant critique!, but that was my most generous one.
No offence.
Your piece is quite meaningful. It depicts a linear progression from the primal unconscious of a space-nymph to a consciousness, cut across segments of a cyclic time, except I can't quite say if that's a womb or a vertical tomb with the 4 rigid bodily forms on the one side unwinding themselves on the other side of the world... like a portal showing both;
Composition or decomposition and/or both - the mystery of life and death... maybe that's why Truth is a veiled woman, and we are cautioned not to lift those veils...
It could be SO UGLY as this!...
Yours sincerely, and all.
even I want to be an art critic.
Such warped individualistic "self-expressions" are morbid because they just reflect the warped individualistic-politics of our time.
I would rather live in our time than in those days gone past. Think about it, it really isn't that bad. I'm glad humans still have the courage, ability and desire to create. It is with this energry we move forward as a human race.
The plither of what is good and what is bad really does not matter. It was but a few months ago and I was in the private gallery of a collector of sculpture. It is funny cause I have yet to see even one of the artist in his collection being brought forth here. Is it because his ablity to spend millions on art gives him a different perspective than mine as a lowly architect.
Heimarm.
thanks very much for your reaction ,
you are a good observer.
Every time one get a good comment one learnd.
The sculpture is ment to have this quality of a mixture of beauty and uglynes , smooth shining intestines .
Something not to be shown something hidden , maybe , and apparently it was hidden in my mixed up mind , and came out in this shape .
Will not happen to you in all that bright shining light around you.
But maybe you are the onlyone that sees it.
Heimarm.
thanks very much for your reaction ,
you are a good observer.
Every time one get a good comment one learnd.
The sculpture is ment to have this quality of a mixture of beauty and uglynes , smooth shining intestines .
Something not to be shown something hidden , maybe , and apparently it was hidden in my mixed up mind , and came out in this shape .
Will not happen to you in all that bright shining light around you.
But maybe you are the onlyone that sees it.
liberty bell> if I understand (through formal education) the intent/meaning of Classical sculpture,
Exactly; you can only "understand" them - their intent/meaning/purpose, etc., but would it be fair to say you could "experience" them as they did? And then to posit a definition based on understanding is one thing, and based on experience is another, I think.
At the most, we can only speak of a re-cognit-ion by instinct.
Heidegger (in 'The Ister', p.16) explains that the symbol, from Greek 'symbolon' derives from 'symballein', which he says, means "to bring together, to hold the halves of a ring against one another and to test whether they fit and belong to one another. The "symbol" is a sign of recognition that demonstrates and thereby legitimizes a belonging together."
Experience (cf. 'versucht' : experience/experiment/test/tempt/attempt ) - I think can be such a kind of recognition at the most.
> Is it wrong to use present-day sensibilites to assess present-day product, given that I also have a knowledge of the art history that led to this moment?
But you weren't assessing what a sculpture is present-day, you seemed like you were speaking for sculpture as a whole. And I found that limiting.
Thanks for the welcome.
He snooker what do you mean whith warped indivdualistic selfexpression ,
do you mean it is egocentric and pathetic , or something.?
snooker> I would rather live in our time than in those days gone past. Think about it, it really isn't that bad. I'm glad humans still have the courage, ability and desire to create. It is with this energry we move forward as a human race.
That isn't enough. The desire to create WHAT? the "for what" is what matters. Does life ascend with it or descend with it...?
> The plither of what is good and what is bad really does not matter.
That is a defeatist, indifferent attitude, and I don't partake of that.
Value-judgements are as serious as life-determining.
In short, I would say, whether its sculpture, or art, or anything else, true and noble beauty knows when to say "enough", while barbarism continues on, clamouring for more. That's one standard of assessment I believe in.
> It was but a few months ago and I was in the private gallery of a collector of sculpture. It is funny cause I have yet to see even one of the artist in his collection being brought forth here. Is it because his ablity to spend millions on art gives him a different perspective than mine as a lowly architect.
Maybe you could present an exhibit.
@skunst,
Too kind for taking it in the right spirit.
Heimarmene,
I do't understand what you mean by this sentence.
I kind/you kind/we kind ?
H. may I ask what you do or maybe not for a living ?
Heima. Sorry I see in the discussion that you are an architect ,where can I see an example of your work ?
Herrmie...My problem of your value of sculpture is that it is this, a trap for man.
http://sio.midco.net/danstopicalstamps/david.htm
I don't think I need to present an exhibit, as his collections can be found in a number of museums around the world.
Rachel Whiteread
link
Somebody's been reading their Plotinus. This conversation needs beer...
Can we all refer to the title of this discussion:
favourite modern sculptor.
Because of the mutability of language, Modern might be mistaken for Contemporary (though the latter, in art history terms, is generally taken as being after 1980), but it sure ain't classical...
Classicism smacks of Aryan...
A blinkered view of beauty. Outdated.
andy goldsworthy
claes oldenburg
Lets not forget Tony Cragg
parttime alien whith a big mouth , and buildin flying soucer
bronze 18 cm
Sol Lewitt:
Eduardo Paolozzi:
Anthony Caro:
Steven Ward> your 'daring to deny' is irrelevant.
Its better than what Danto said, "you can't say something's art or not art anymore. That's all finished."
I believe one can still say what's art and what's not art, when you can plainly differentiate between what's really "art" and what's merely "artistic need".
As to relevance, no matter how much a word changes in use-meaning, it still cannot escape from its ancestry; a parable.
Snooker> My problem of your value of sculpture is that it is this, a trap for man.
The Renaissance artists didn't think so; their works aren't exactly what you would call a classical-regurgitation.
>I don't think I need to present an exhibit, as his collections can be found in a number of museums around the world.
No, I meant what artists of his collection did you hope/expect to find here?
Psyarch> Classicism smacks of Aryan...
That's because it is, lol
> A blinkered view of beauty. Outdated.
No way. More like uiskabach!
The seeds of a noble culture are indestructible, they revivify; Jung described this as like a riverbed - the river may run dry [or flood], but the river bed is always there.
The very Classical ethos is a 'more lasting than bronze'.
The tendency of Modernism to move into 'self-conscious Kitsch' shows that it became aware of its short termism, and tried to pre-empt it - indeed the English philosopher R.Scruton calls much Modernism 'pre-emptive Kitsch'.
"With every individual artwork I ask, has hunger or superabundance created this ?" [Nietzsche]
> Can we all refer to the title of this discussion:
favourite modern sculptor.
Ok. Lets see.
1. Gretchen Lothrop;
"Stepping lightly" (so simply beautiful):
http://studioatelfway.com/index.html
Standing next to Shakti,
"My process is additive, using predominately, but not exclusively, stainless steel. My imagery is often based on music or its corollary - dance, and the paradox of time. I think of my work as haiku - the crystallization of an instant of insight which might otherwise be swept away."
http://studioatelfway.com/about.htm
More:
http://studioatelfway.com/worksforsale.htm
2. Jozef Trencin;
"The light of one's soul":
http://www.slovak.com/trencin/light_sculpture_01ex.html
I remember someone telling me four years back, "there is more REAL CRUELTY in the delicacy of a Mozart, than in all the brutal posturing of hip hop!", lol,
Mozart - symphony in G minor, no. 40:
http://www.slovak.com/trencin/sculpture.html
Some other small individual pieces:
A touch of Zen:
http://www.mailland.fr/html/touch_of_zen.html
Introspection, et.al.:
http://www.malfano.com/philosophical.html
White Narcissus:
http://www.maa.org/mathland/long.jpg
He Harmein.
Today I listened to mozart messe in c minor part six , the largo (loud)
And looked at the same time to fotos of the Phaeno building by zaha Hadid
Then repeated for 10 times a small part of a song by public enemy : "terminator ex" :second 30 -36 .
Try it then there is no need to use drugs anymore .
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