Displaying items by tag: Sculptor

Moderna Museet highlights Louise Bourgeois, one of the most important 20th and 21st-century sculptors. Her art serves as a bridge from Modernism and continues to exert its influence on contemporary artistic practices today. "Louise Bourgeois – I Have Been to Hell and Back" is the most comprehensive Swedish exhibition of Louise Bourgeois’s art to date. It demonstrates the width of her oeuvre and presents her captivating and varied body of work over seven decades. One-third of the pieces in the exhibition have never before been shown publicly. Before entering the exhibition, visitors will encounter her monumental work Maman, a gigantic spider sculpture, which is standing outside the museum on Skeppsholmen.

The art of Louise Bourgeois (1911-2010) is complex, radical and full of subversive humour, danger and fear. She succeeds in formulating that which is hard to find words for, and her creative urge was intimately linked with her need to understand, imbuing her oeuvre with a compelling psychological dimension.

On Friday, February 6, 2015, the Blanton Museum of Art announced that it will acquire and construct Ellsworth Kelly’s only building. Kelly, an American painter, sculptor, and printmaker associated with Color Field painting, hard-edge painting, and Minimalism, conceived the stand-alone structure in 1986 for a private collector. At the age of 91, he is finally seeing the project come to fruition.

Austin, a 73-by-60-foot stone building, will be constructed on the museum’s grounds at the University of Texas at Austin. The structure will feature luminous colored glass windows, a totemic wood sculpture, and fourteen black-and-white stone panels in marble -- all designed by the artist.  Kelly has gifted the Blanton the design concept for the work, including the building, the totem sculpture, the interior panels, and the glass windows. Once it is complete, Austin will become part of the museum’s permanent collection. The Blanton has launched a campaign to raise $15 million to realize the project and has received commitments totaling $7 million.

They span 75 feet, weigh 4,300 pounds and can’t move.

The four, black aluminum clouds comprising the once-mobile component of “Mountains and Clouds”—one of the final works of sculptor Alexander Calder, which dominates the Hart Senate office building’s 90-foot-high atrium—haven’t drifted for more than a decade. They once rotated at a gentle speed, but have been frozen in place for years after a bearing failed.

Now, Sen. Chris Murphy, a Democrat from Connecticut, where Mr. Calder often worked, is pushing to restore the artistic integrity of the design advanced by Mr. Calder, whose mobiles and other works often incorporated movement.

The London-based sculptor Anish Kapoor has been given a one-man show at the Château de Versailles in France. According to “The New York Times,” the show will open in June 2015 and run through October 2015.

Versailles’ former director, Jean-Jacques Aillagon, launched the museum’s contemporary art program in 2008. In addition to Kapoor, Jeff Koons, Takashi Murakami, and Joana Vasconcelos have been given solo shows at Versailles. According to the museum’s website, “These encounters, sometimes emphasizing contrast and synthesis, show Versailles as a living site always open to creativity.”

Until 2005, the 78-year-old Institute of Contemporary Art had no permanent collection, assembling most of its shows with borrowed works. Philanthropist and ICA board member Barbara Lee gave the museum one of its first pieces: British sculptor Cornelia Parker’s “Hanging Fire (Suspected Arson),” an ethereal work that has become a favorite of visitors.

Now Lee has given the ICA a much weightier gift: a group of 43 works by 25 international artists, all women. The Barbara Lee Collection of Art by Women, the institution’s largest gift of art ever, will expand the ICA’s holdings by roughly 30 percent, ICA director Jill Medvedow said.

This week marks the 25th anniversary of the installation of Wall Street's "Charging Bull," installed without permission during a four-and-a-half-minute break in a night watchman's rounds by sculptor Arturo Di Modica as a guerilla art piece and gift to the city.

Di Modica personally shelled out $350,000 to make his three-and-a-half-ton, 18-foot-long dream a reality, casting the bronze statue in his SoHo studio, transporting it on a flatbed truck, and covertly delivering it to the center of Broad Street, in front of a Christmas tree and the New York Stock Exchange.

Sotheby’s got New York’s fall auctions off to a rollicking start with a sale of Impressionist and modern art on Tuesday that totaled $422.1 million, the highest in the 270-year-old company’s history.

Leading the charge was Swiss sculptor Alberto Giacometti’s 1951-52 bronze “Chariot”—depicting a finger-thin woman riding atop a chariot—that sold to a telephone bidder for $101 million.

She was married to Humphrey Bogart. Shot films with the likes of John Wayne and Paul Newman. And over her long career racked up a pair of Tony Awards and an honorary Oscar. But if there was one figure who made screen legend Lauren Bacall weak in the knees it was British sculptor Henry Moore. 

Bacall, who passed away in August, was a longtime art collector, who amassed hundreds of artworks. Her tastes were broad and wide-ranging and her collection included African art and Pablo Picasso. But the actress had special affinity for works by Moore, whom she began collecting in the 1950s and first met in person in the mid-1970s.

Guess what? If you walk into the Doris C. Freedman Plaza, at the southeast entrance of Central Park, you will encounter something unusual, even strange: four huge sculptures by internationally famed Chinese sculptor Sui Jianguo.

It is the first time a Chinese artist's work occupies this plaza, which is named for the founder of the Public Art Fund.

The stories behind some of London’s most radical public sculptures are traced in a display drawing on the Henry Moore Institute’s rich collection of sculptors’ papers in Leeds, England. The exhibition sheds new light on sculpture in the capital, charting the creative process, political debates and critical responses surrounding realized and unrealized works from the early twentieth century onwards.

Highlights include Laurence Bradshaw’s (1899-1978) iconic Karl Marx Memorial (1956) which stands in Highgate Cemetery in north London. A pilgrimage site for international socialist leaders and politicians over the past 50 years, the monument has also been a target for attacks and demonstrations, including damage from homemade bomb explosions in the 1970s.