European influences

Constantin Brâncuşi

a revival of carving and great respect for an artist's materials

“The people who call my work ‘abstract’ are imbeciles; what they call ‘abstract’ is in fact the

purest realism, the reality of which is not represented by external form but by the idea behind

it, the essence of the work.” (Brancusi)

“What is real is not the external form, but the essence of things,” he says. “It is impossible for anyone to express anything essentially real by

imitating its exterior surface.” (Brancusi)

The Prayer1907Bronze111,5 x 35 x 112 cm

Constantin Brâncuşi

The Kiss (4th version)1916Limestone23 x 13 1/4 x 10 inches (58.4 x 33.7 x 25.4 cm)

Constantin Brâncuşi

Princess X1915-16Polished bronze; limestone block24 5/16 x 15 15/16 x 8 3/4 inches (61.7 x 40.5 x 22.2 cm) Base (three elements): 44 5/16 inches (112.5 cm) Base (Cube): 7 1/4 x 7 1/4 inches (18.4 x 18.4 cm)

Constantin Brâncuşi

Bird in Space1923 Marble; (with base) H. 56-3/4, Diam. 6-1/2 in. (144.1 x 16.5 cm)

Constantin Brancusi

1920s to the 1940s birds in flight

Golden Bird1919/20 (base c. 1922)

Maiastra, 1912 (?)Polished brass73.1 cm high, including base

The Table of Silence, The Gate of the Kiss and The Endless Column lie on an axis 1,275 meters long, oriented west to east

Sculptural Ensemble in Târgu Jiu

The Gate of the Kisstravertine (marble)concrete foundation of 5 square meters5,13 m high, 5,45 m long the pillars have 1,69 m width

The Endless Column (or the Column of Gratitude)17 rhomboidal cast iron modules in a 29.3 meter high columnThe modules are fixed on a steel axis

The Table of Silence

Alberto Giacometti

Existentialism

Walking man II1960 bronze

Standing Womanbronze, c. 1958-9

Standing Womanbronze, c. 1955

the void

Reclining Figureplaster, 1951

organic forms in abstract works

hollowed biomorphic shapes

Henry Moore

England

UNESCO (United Nations Educational Scientific and Cultural Organization),Paris

Reclining Figure 1957-58Roman travertine, 16’ long

Kouros, 1944–45Marble; H. 117”, base: D. 34”, W. 42”

Isamu Noguchi"the encroaching void"

This Tortured Earth, 1942Bronze, 4 x 28 x 28 inches

Biomorphic imagery

The sculptures were assembled from individual pieces of carved stone, without benefit of adhesives or pinions, by notching and slotting the pieces together

Globular, 1928, polished brass

Early Abstraction

Positional Shape, c.1928, brass

Isamu Noguchi

Remembrance, 1944, mahogany

Table for A. Conger Goodyear, 1939, rosewood

Coffee Table, 1944, glass top and wood base

Wood and metal "rudder" dining table and stools, 1944

Area 12 of The Noguchi Museum, Long Island City, New York

Sculptures seen from left to right: Figure, Strange Bird (Aluminum), The Kiss, Strange Bird (Slate) and Gregory (Effigy)

"Garden of the Past" at the IBM Headquarters, 1964, Armonk, New York

Memorial garden for Yone Noguchi designed by Isamu Noguchi, 1951-52, Keio University, Tokyo.

Model of Garden for Lever Brothers Building, New York City, 1952. Unrealized.

Overview of Gardens for UNESCO, 1956-58, UNESCO Headquarters, Paris, France

Delegates Patio, Gardens for UNESCO, 1956-58, UNESCO Headquarters, Paris, France

Sunken Garden for Chase Manhattan Bank Plaza, 1961-64, New York City

Martha Graham in Medea's dress from Cave of the Heart, stage set designed by Isamu Noguchi in 1946

Maquette of stage set for the Royal Shakespeare Company production of King Lear, London,1955.

Model for Jefferson Memorial Park, 1945. Collaboration with Edward Durell Stone. Unrealized

Bayfront Park, Miami, Florida. Project began in 1979 and is still in progress

blending the boundaries between sculpture and assemblage, collage and woodwork

Louise Nevelson

Homage to 6,000,000 I, 1964

painted wood (found objects, including moldings, dowels, spindles, chair parts, architectural ornaments, and scroll-sawed fragments)

Sky Cathedral. 1958. 11' 3 1/2" x 10' 1/4" x 18"

Painted woods – ROYAL TIDE I, 1960 & WHITE VERTICAL WATER, 1972. Louise Nevelson

The Banquet1951installation at Kykuit

David Smith

industrial materials, especially welded iron and steelexploration of an open, linear structure

“Personnages”

PicassoProject for a Monument to Guillaume Apollinaire1962enlarged version after 1928 original maquette. Painted steel, 6' 6" x 29 7/8" x 62 7/8"

Julio GonzalesWoman with a Mirror (Femme au miroir), ca. 1936-37 (cast ca. 1980) Bronze, 80 15/16 x 26 3/8 x 14 3/16 in

David Smith

Ancient Household1945, bronze

Fish1950-51

David Smith

Hudson River Landscape, 1951Welded steel

David Smith

David Smith with Australia, 1951

Sentinel III 1957Painted steel83 3/4 x 27 x 16 1/4 in

David Smith

Cubi I1963

David Smith

Cubi XXVII1965

Cubi XIX1964

Alexander Calder

Horse1928 Walnut 15 1/2" x 34 3/4" x 8 1/8"

Totem Pole1929 Wood 65 1/4" x 8 1/4" x 4 3/4"

Cirque Calder1926-1931

Mixed media 54" x 94 1/4" x 94 1/4"

Untitled1938 Wood, wire, sheet metal, string, and paint

81" x 96"

Vertical Foliage1941 Sheet metal, wire, and paint 53 1/2" x 66"

Big Bird 1937 Sheet metal, bolts, and paint 88" x 50" x 59"

Myxomatose1953 Sheet metal and paint

101" x 161"; base: 52 1/2" x 41"

The Blind Leading the Blind

1947–1949

Wood, painted pink

70 3/8 x 96 7/8 x 17 3/8 in.

Louise Bourgeois

Quarantania1947-53Bronze, painted white and blue

80 1/2 x 27 x 27 in

Maman

http://www.youtube.com/watch?v=ZnsJzSV4mhE&NR=1

Away from Abstract Expressionism

new emphasis on the concrete

influence of Duchamp - found objects, ‘ready-mades’

POP ART

mass media and popular culture

Canyoncombine on canvas, 1959,6’ x 5’ x 2’ (fabric, cardboard, paper,photographs, metal, paint, etc, collage and 3-D)

“I try to act in the gap between art and life”

Robert Rauschenberg

Painting, Collage and Assemblage 2-D/3-D COMBINES

To see the strange in the familiar

The chaos and unpredictability

of modern urban experience

is embraced with irony and joy

“I don’t want a picture to look like something it isn’t. I want it to look like something it is. And I think a picture is more like the real world when it’s made out of the real world.”

“A pair of socks is no less suitable to make a painting with than wood, nails, turpentine, oil, and fabric.”

--Robert Rauschenberg in Susan Hapgood’s Neo-Dada, Redefining Art 1958-1962, p.18

Monogram, 1955-59

Combine (stuffed angora goat, a tire, a police barrier, the heel of a shoe, a tennis ball, newspaper clippings and paint)42 x 64 x 64”

Robert Rauschenberg

"I had to make a surface which invited a constant change of focus and examination of detail. Listening happens in time. Looking also happens in time."