Zitat des Tages über Skulptur / Sculpture:
Architecture is inhabited sculpture.
All my life as an artist I have asked myself: What pushes me continually to make sculpture? I have found the answer. art is an action against death. It is a denial of death.
I like to have the widest part of the car being the wheels and not the body. It gives it a more athletic look and, with the sculpture, helps make a car look sexy.
Lou Tyrrell has created a theatre that is a safe haven for playwrights, a birthing center for new American writing. Arts Garage has created a vital, enthusiastic audience for theatre, music, painting and sculpture in Delray Beach.
Sculpture is the art of the intelligence.
I can actually feel the interior body of a dancer. I have the ability to capture a split second... I want you to be hit with whatever the essence is of this sculpture.
If Abstract Expression reached for the sublime, Pop turned ordinary imagery into icons. Roy Lichtenstein and Andy Warhol illuminated the transformative power of context and the process of reproduction. Claes Oldenburg's soft ice-cream cones and hamburgers changed sculpture from hard to soft, from stasis to transformation.
Mushy novels, pretty pictures, pretty sculpture, decorations on the wall, nice parallel lines - make me sick.
A sculpture is just a painting cut out and stood up somewhere.
The nearest approach I have ever seen to the symmetry of ancient sculpture was among the Arab tribes of Ethiopia. Our Saxon race can supply the athlete, but not the Apollo.
Painting and sculpture are very archaic forms. It's the only thing left in our industrial society where an individual alone can make something with not just his own hands, but brains, imagination, heart maybe.
I tried to use the questions and answers as an armature on which to build a sculpture of genuine conversation.
I really became convinced I wanted to tell the story of the real-life model for the Degas sculpture 'Little Dancer Aged 14,' which was unveiled in 1881, the Belle Epoque.
Parks are works of art just as a painting or sculpture is.
Firstly I did it in this huge theatre in Avignon, then to smaller places, then bigger places. You have to change the volume of the voice, give more or less. The way you have to relate to space makes it like sculpture.
It's not like since I make comics I only read comics and since I make movies I will only go out and watch movies. Any kind of artistic expression interests me; it goes from literature to music to sculpture, painting; whatever is extremely inspiring for me becomes a reference also for me.
I started doing sculpture in 1959. I had no commissions then. They were painted, similar in style to the paintings... At a certain point, I decided I didn't want an edge between two colors, I wanted color differences in literal space.
Well, I never studied design and I went to art school to study art, you know, sculpture and things like that, and ended up making things like sculpture and started making chairs and jewelry together and that's how I started.
Well, what I'm doing is really clothing. I'm not doing sculpture.
The skull is nature's sculpture.
And certainly the history of public sculpture has been disastrous but that doesn't mean it ought not to continue and the only way it even has a chance to continue is if the work gets out into the public.
I try to consider each body of work on its own terms, discretely, so terms like 'sculpture' or 'photography', in their broad sense, don't really enter into my thinking.
Some time ago, we went to Asia and took a camera along, and I began to do what I'd done even years ago doing people. I couldn't get interested in it. And I did hundreds of photographs of details of the monuments as sculpture.
Sculpture is the art of the hole and the lump.
In the studio, I don't do a lot of work that requires repetitive activity. I spend a lot of time looking and thinking and then try to find the most efficient way to get what I want, whether it's making a drawing or a sculpture, or casting plaster or whatever.
I'm in deep in everything, every moment of the day. I create the systems and oversee every aspect of the execution. Every mark on a sculpture and every brush-stroke on a painting is in a controlled situation, exactly as they'd be if I'd have done them myself.
All of Koons's best art - the encased vacuum cleaners, the stainless-steel Rabbit (the late-twentieth century's signature work of Simulationist sculpture), the amazing gleaming Balloon Dog, and the cast-iron re-creation of a Civil War mortar exhibited last month at the Armory - has simultaneously flaunted extreme realism, idealism, and fantasy.
Art works because it appeals to certain faculties of the mind. Music depends on details of the auditory system, painting and sculpture on the visual system. Poetry and literature depend on language.
Sculpture is the best comment that a painter can make on painting.
Colloquial poetry is to the real art as the barber's wax dummy is to sculpture.
It's extremely difficult to say what one actually means by 'sculpture' other than, in a provisional sense, it's something that goes on the floor or a pedestal, and loosely applies to a certain history of the use of that term.
Music, in performance, is a type of sculpture. The air in the performance is sculpted into something.
At a certain point, I just put the building and the art impulse together. I decided that building was a legitimate way to make sculpture.
When a finished work of 20th century sculpture is placed in an 18th century garden, it is absorbed by the ideal representation of the past, thus reinforcing political and social values that are no longer with us.
Sculpture occupies the same space as your body.
The ostensible subject of my photographs may be motion, but the subtext is time. A dancer's movements illustrate the passage of time, giving it a substance, materiality, and space. In my photographs, time is stopped, a split second becomes an eternity, and an ephemeral moment is solid as sculpture.
