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Sculpture Hand Carved
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The June showing of Peter Agostini's sculpture at the Salander-O'Reilly Gallery on East 79th Street in Manhattan brings a true master's touch of creative genius to this Spring and Summer's New York Art Gallery scene. With its vivid, image-provoking title of "Mid-Life Crisis," this uniquely characteristic and diverse collection of the artist's work exhibits the highest definitive qualities of major schools and styles in the rich, complex history of World Art.
Entering the gallery, the viewer is greeted by the silken surface and steely force of the "Swell," made of hydrocal in 1965. One of a series of "Swells," this amazing landmark in modern sculptural achievement at once defies and re-defines accepted and proven laws of physics in its seductive intrigue of tied inner tube forms contained to near bursting, threatening absolute explosive elegance - pure, pristine dynamite grace. Within this piece, Eastern Asian full-form and fluidity meet Western power-packed compression, and align.
Nearby, another well-known smaller sculpture entitled "Squeeze" (1964) is a plaster replica of the artist's strong, sensitive hands kneading tight-skinned tubular forms into lifelike, billowing, breathing flesh. Its classic Italian form in American Pop Art medium give this piece unbounded limits as a powerful merging of style, form and period - a sculpture of true significance within the history of international art. - The artist's index finger playfully arching above the work-in-process questions any challenge to Peter Agostini's valid place as a Founding Father and true genius in the history and development of Modern Art.
Another "Swell" in hydrocal (c. 1965) exudes an uncanny feeling of feather lightness in flight, its ballooning, bulbous dimensions defying both weight and gravity. Its rope-lined seams of stretching, barely controlled power with fabric-like pleats beneath the rope-ties lend a sheer suggestion of draping to this otherwise naked revelation of exaggerated form. The tightly encased volumetric magnitude is similar to that found in many large, heavy-based and massive Buddha figures of Indian, Ceylonese and Chinese sculpture from the 5th and 6th Centuries A.D., as well as in stone figures and fragments from the Mayan ruins of Mexico.
The terra cotta "Untitled Head" (1972), a gentle-featured, expansive, cloud-boulder sits stalwart, unconcerned of its peculiar duality of full, rounded, yet fractured forms. Its fragmented skull and nose in no way detract from its large, round baby-doll eyes and full, plush lips. The overall fullness and depth of the features are classical, but the eyes are shallow - almost drawn - as in Abstract Expressionism. And the endearing vertical line through the eye is unmistakably theatrical French and Art Nouveau. - Agostini came close to discarding this piece when it broke and fragmented during its kiln firing, but was persuaded to keep it because of the artistic strength and validity of its altered state.
Immortalized in bronze, the "Old Apollo" (1976) with its bony, yet muscular torso and sparse, thinning legs - its powerful, yet gnarly hands and feet - possesses a quiet, knowing countenance of incorrigible patience and acceptance of longevity. The elderly god stands watchful, fearless in his linear definition of aging grace. With back of right hand resting easily on right hip, he exhibits the uncanny relaxed, open-handed, languid strength so beautifully recognized in the male figures of Michelangelo.
"Butterfly" in plaster (1959) has a rare quality of sophisticated buoyancy and weightlessness - a new-born nymph taking flight, emerging from its satin pillow cocoon in a graceful curving twist of upward spiraling transformation. Within this piece live the exquisite convergence of classic Renaissance form, Rococo richness of style, and Pop Art conception and material. The artist's characteristic signature of "Agostini" nonchalantly carved in subtle, low-relief in large and small capitalized print in the sculpture's soft-pillow base emphasize even further this vibrant combination of period and world style.
The amazing sculptural triptych display of bronze horses: "Walking Horse" (1971), "Galloping Horse" (1969), and "Flying Horse" (1939) all embody a pure, uninhibited and joyful outrageousness in their yogic postures and near-impossible dance-flight moves. The subtle nuances of their smooth classical forms combined with their dashing flare and dauntless unfurling of elegance enable them to soar above any pedestal or reproach.
With each face carefully defined by the free, casual, but exacting touch of the artist, the four plaster "Figure" sculptures are definitive of feminine beauty and liquidity of form. Their flowing, graceful lines and rough-surface modeling are proudly indicative examples of the joining together of Renaissance, Impressionism and Abstract Expressionism.
The exquisite and outstanding exhibition of Agostini's sculpture at the Salander-O'Reilly Gallery in Manhattan will run until the end of June, and Peter Agostini's brilliant influence and significance in the field of American and World Art will continue throughout the endurance of history.
Ellen Gilmer is a writer-composer and artist who lives in New York City. Crystal Clear Artforms, her creative arts business, is dedicated to the development and promotion of Thematic Arts (creative expression in multiple art forms). Ellen's work includes poetry, prose and article writing, and she is a correspondent for the International Press Association. She has published two books: La Belle Famille (a novel); and Free Style Run of the Heart (a book of dramatic monologues with songs). Her books were published by The Pentland Press Ltd. and Carnegie Publishing Ltd. in England. Ellen is currently at work on a second novel, a recording of original poetry set to music, and a book about the kinetics of language.
Website: http://www.home.earthlink.net/~elgilmer
Sculpture how to tips
Sculpture is never about technique or media. It is about individual expression. Your work can be polished, rough and raw, built in clay, carved in stone, cast or welded in metal, and it all comes down to the same thing. Does your work communicate?
Sculpture has a language as real and immediate as our verbal languages, our mathematic languages, and our body language. Learning the language of sculpture is the most important vehicle through which to communicate effectively in your media.
So what is this language? In its simplest form, it is the language of shape. Shapes communicate emotion and allow us to express, in dimensional form, the things we feel in response to our experiences. Can you imagine the position you would assume when someone hits you in the belly? You would double over, curl into yourself and protect your body from additional assault. The shape your body would form in response to this experience would be an oval. How about the position you assume when you are confident, relaxed, on top of your game? Would your legs be slightly spread, your gaze direct, and your hands loosely at your side? This position forms a triangle. We understand the language of shape because it is the language of our bodies and of our physical world. What feeling does a mountain inspire in you? What feeling does a full moon in the sky evoke? The language of sculpture is, at its most rudimentary level, the language of shape.
As you sculpt your art, in any media, pay attention to the shapes you are creating both in the work and through the negative space around it. As you hone your shapes your expression will solidify and your work will communicate with conviction.
More information can be found in my ebook, “The Language of Sculpture,” at www.destinyallison.com.
About the Author
Destiny Allison has been a professional sculptor for 17 years. She is represented nationally. Her works can be seen in hospitals, schools, government buildings, resorts, corporate offices and private homes throughout the country.
Is it a coincidence that it's snowing here?
As you all know, it's September... and an anonymous Y!A user sent me Danny Elfman's "Edward Meets the World: Ice Dance". Now for those of you who don't know this song... this is the song from Edward Scissor Hands where he makes it snow in a town that never sees snow by carving and ice sculpture blah blah blah. Well anyway, I was listening to this song repeatedly this morning and low and behold, I looked outside and it is DUMPING snow right now... in September. Yesterday it was 76 degrees? Have I found my new mutant power? Any kids wanna get snow day? Talk to me I'm cheap....
I saw exactly that thing happen one day by Denver. It as a beautiful day, in the mid-70s. Suddenly, these big clouds boiled outward from over the Rockies, and within 15 minutes, it was snowing like crazy. Over 6" fell by the time it ended. Do you live at the bottom of the front range of the Colorado Rockies?
Trashy art: Recology's 20 years of shoving artists into heaps
One thing I learned yesterday about the artist in residence program at the Recology dump; Sirron Norris and other alums were not wading through the mountains of lightly used diapers and rotting carrots to cull the materials for the flights of foraged fancy they produce in the program, a 20-year retrospective of which opens today, Wed/21, at Intersection 5M. No no, they pick through the goods ...
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