Wendy Klemperer

Running Horse

2012

Horse sculpture made of reclaimed steel bars

Edition 3/4 Lynn Chadwick was part of a generation of British sculptors who surprised audiences at the 1952 Venice Biennale by breaking with the tradition of carving sculpture from ...

AP 2 Ernest Trova was an artist whose signature creation, a gleaming humanoid known as “Falling Man,” appeared in a series of sculptures and paintings and became a symbol of an imperfect humanity hurtling into the future. Mr. Trova was largely known as a sculptor, but his “Falling Man,” a standard of Pop Art, began life as a painted figure, taking shape on his easel in the early 1960s. Faceless, armless, with a hint of a belly and, its name notwithstanding, of indeterminate sex, the figure struck a variety of poses, sometimes juxtaposed with other like figures, sometimes with mechanical appendages. In October 1963 his one-man show, “Falling Man Paintings,” was the inaugural exhibition of the Pace Gallery on West 57th Street in Manhattan; it sold out, with the works purchased by the Museum of Modern Art, the Whitney Museum, the architect Philip Johnson and others. In three dimensions, the “Falling Man” figure was made from different materials over the years — nickel and chrome-plated bronze, enamel on aluminum, stainless steel — and often, like the Oscar statuette, was polished to an industrial sheen. It was clearly a space age creation, a forerunner of C3PO, the golden robot in “Star Wars.” “He found the space age both inspiring and dehumanizing,” Arne Glimcher, who founded the Pace Gallery, now PaceWildenstein, said in an interview on Friday. By the end of the 1960s, “Falling Man” had become Mr. Trova’s trademark, provoking Hilton Kramer, the art critic of The New York Times, to write that Mr. Trova had subjected his favorite figure “to almost as many variations as the Kama Sutra describes for the act of love.” Ernest Tino Trova Jr. was born in St. Louis on Feb. 19, 1927. Shortly after his high school graduation his father, an industrial tool designer and inventor, died, and young Ernie, as he was known, went to work, most significantly as a window dresser for a department store. His early paintings were in the Abstract Expressionist mode, but his attentiveness to the mannequins had an influence on his art. Through the 1970s and 1980s he continued with “Falling Man,” though he also became interested in formalized, almost mechanical-seeming landscapes, and the figures began to appear, reduced in size, within the context of abstractly rendered gardens. A self-taught artist with an impish wit and an eccentric turn of mind, Mr. Trova craved the recognition that was available to artists only in New York City, but he never visited for more than a week at a time and made almost no friends among New York artists. He did befriend Ezra Pound. As a fevered fan of Julio Iglesias...

Vaadia says of his work, “By using the natural forces of rocks, my work awakens ancient ‘earth senses’ that were slowly abandoned by man during his evolution to civilization. By carv...

This sculpture is edition 2/7, cast posthumously by the Boaz Vaadia Estate.

This sculpture is an A.P., cast posthumously by the Boaz Vaadia Estate.

Hung Yi was born in Taichung, Taiwan in 1970. The artist’s works are inspired by Taiwanese culture or day-to-day life in Taiwan. In the 1990s, it was popula...

There is a metaphorical interplay between the natural imagery international artist, Jennyfer Stratman, uses and its multiple meanings. While the human figure features strongly, it is...

Cefiro is derived from the Spanish word for Zephyr, meaning a soft gentle wind which brings spring to the Mediterranean. The word also depicts beauty and playfulness. This figure p...

Yelp, Rodger Jacobsen, steel, large wall sculpture, big eyes, humorous, big eyes wall mounted steel sculpture

American, b. 1958 Jim Rennert was born in 1958, and grew up in Las Vegas, Nevada, and Salt Lake City, Utah. After ten trying years of working in business, Rennert was inspired to ex...

Laughter, discomfort, perplexity: these are all plausible reactions to the work by sculptor Cal Lane. The artist’s most recent body of work is an affective assemblage of incongruous parts that, taken together, violate our mental patterns and expectations. Charged with contradictions, metaphor, sexual undertones, and unsettling associations, Lane’s unlikely combinations use absurdity as a way of pointing to western society’s normalized habits and conventions, often with an emphasis on gender and sexuality. For the exhibition Try Me, Lane installs a basketball court in the gallery. The two basketball hoops on opposing walls are embellished with silver-coated frames and lustrous mirrors, which serve as decorative backboards. In place of nets, women’s black lace underwear delicately hang from hoops. A decorative rug stenciled with court lines performs as the court floor. It is a mise-en-scène set in motion by viewer’s reconciliation of the individual parts to the whole, and to their original function. Panties regard themselves in the mirror or perhaps measure up their opponent, which, not without irony, is the mirror image of itself. Themes of gender and sexuality are performed and imagined in the upward voyeuristic gaze of the viewer and the expected swoosh of the ball into the net. This is further elaborated by phallic impressions formed by court lines and their likeness to a work of modernist abstraction—a movement wrought by notions of masculinity. The decorative rug’s connection to femininity and domesticity juxtaposes the rigid geometry. Lane further explores the historical gendering of technology, industry, and war in her series of wallpaper drawings, which depict war submarines on cloud patterned wallpaper. The innocence of the submarine in popular culture and its reality as a phallic war object...