Constructivist Sculptures

From the primal landscapes of our world grow the materials that fuel our creativity - a phenomenon echoed in the creation of this brutalist sculpture. We stand with an art piece who...

Craig French is a contemporary pop-Constructivist sculptor, whose brilliant, lyrical wall pieces have gained an international audience. Cast resins, acryl...

Construction Assemblage of mat board or Bristol board. titled Geo 1 and signed and dated verso. Lawrence Saul Heller, (Larry Heller) (American, born 1965) Born Great Neck, NY Kent S...

Forrest Myers Untitled geometric abstraction, 1976 Painted aluminum Signed in the metal with the artist's incised initials (FM) and stamp numbered 52/75; bears Treitel-Gratz foundry mark 15 × 13 1/2 × 6 in Unframed This painted aluminum sculpture was made by the American artist Forrest Myers. Myers is known for creating artworks that hold their own space; they maintain their presence through his manipulation of each chosen material's inherent properties. Numbered 52/75 Foundry: Treitel-Gratz, NY Forrest Myers Biography: An artist who greatly expanded the functional vocabulary of sculpture, Myer’s work is foremost, the result of his empirical explorations in materiality. For 40 years, he has been experimenting with the inherent properties of metal. The show will not only present his early dynamic pipe sculpture, his more austere flattened pieces made of oxidized steel plates, and his early woven wire “chairs” but will show for the first time, his most recent body of work including Parker and Vesuvio. The contemporary works, sculpted and intricately worked, are his most brilliantly complex to date. Myers most popularly known work The Wall (1973) at the corner of Broadway and Houston is currently under reinstallation (it was disassembled in 1997 to utilize the wall for income-generating advertisements). Often called the “Gateway to Soho,” this long embattled sculpture—a vibrant relief commissioned to disguise steel joists jutting from the brick wall of a building at this intersection). It will now regain its place as the New York’s largest public sculpture. Born in Hawaii (b.1941) and raised in California, Myers moved east in 1961 and quickly became part of New York’s vibrant artistic community. He was a founding member of the Park Place Gallery, where he exhibited large-scale sculptures with colleagues Mark di Suvero and Robert Grosvenor...

My training was at (RISD) the Rhode Island School of Design, BFA, followed by the Yale University School of Art & Architecture, MFA. I am Emeritus Professor of Art, Georgetown University, where I taught Sculpture and Foundation Design in the Art & Art History Department. My sculptures are constructivist, mostly of steel and wood. I admire and share the sensibilities of many modern masters: Noguchi for purity of form and sensual materials, Giacometti for mystery and monumentality, and David Smith for toughness. I’ve exhibited my work in museums including: the Phillips Collection and the Corcoran Gallery in Washington, DC, the Albright-Knox Museum, Buffalo, NY, and recently The San Luis Obispo Museum Of Art. I’ve had solo exhibitions at the Huntington Museum, Huntington, WV, and the Southeast Center for Contemporary Art (SECCA) in Winston Salem...

My training was at (RISD) the Rhode Island School of Design, BFA, followed by the Yale University School of Art & Architecture, MFA. I am Emeritus Professor of Art, Georgetown University, where I taught Sculpture and Foundation Design in the Art & Art History Department. My sculptures are constructivist, mostly of steel and wood. I admire and share the sensibilities of many modern masters: Noguchi for purity of form and sensual materials, Giacometti for mystery and monumentality, and David Smith for toughness. I’ve exhibited my work in museums including: the Phillips Collection and the Corcoran Gallery in Washington, DC, the Albright-Knox Museum, Buffalo, NY, and recently The San Luis Obispo Museum Of Art. I’ve had solo exhibitions at the Huntington Museum, Huntington, WV, and the Southeast Center for Contemporary Art (SECCA) in Winston Salem...

Buky Schwartz House in Motion, 1986 Welded steel 10 1/2 × 6 1/4 × 6 1/2 inches This is a unique work The sculpture is an upside down house with two human figures. It is ingeniously ...

Peter Charles - My training was at (RISD) the Rhode Island School of Design, BFA, followed by the Yale University School of Art & Architecture, MFA. I am Emeritus Professor of Art...

Sidney Gordin Untitled, 1958 Signed with initials and dated Bronze 15 1/2" high x 5 1/2" wide x 5" deep Provenance: Private Collection, Phoenix, Arizona Tim Mitchell, Phoenix, Arizona (acquired directly from the above) On October 24, 1918, Sidney Gordin was born in Chelyabinsk, Russia. He spent his early years in Shanghai, China. At the age of four, he moved with his family to New York. Gordin’s nephew, Eliot Nemzer recalls that when Gordin was a child he attended “a dinner party with his parents. Someone showed him a book of pictures that when thumbed through quickly made the image appear to move. This person then gave him a wad of blank papers and something to write with. Sid created a similar type of moving image with his materials. All the adults at the party became quite excited [and] praised his efforts. Sid told me he thought this was a pivotal experience in guiding him towards his vocation.” During his formative years at Brooklyn Technical High School, he briefly contemplated the idea of becoming an architect; yet, by the time he enrolled at Cooper Union, he was determined to become a professional artist. There, he studied under Morris Kantor (1896-1974) and Leo Katz...

A very interesting 1960's brutalist wall hanging sculpture, constructed from hammered copper with 9 agate gemstone insets. All in wonderful cond...

Robert Elkon Untitled Constructivist Sculpture, 1979 on wood plinth Steel on wood plinth with Robert Elkon Gallery label verso 5 3/4 × 4 × 1 in 14.6 × 10.2 × 2.5 cm Bears original Robert Elkon Gallery on the underside, expressly stating the work is unique (see photo) This is a unique work This late 1970s work bears the original Robert Elkon Gallery on the underside, expressly stating it is a unique maquette. Elkon first represented William Tucker...

The "History Lesson Series" is a poignant exploration that melds cautionary tales with environmental inquiries, provoking reflection on humanity's recurrent tendency to construct and...

Title: "The New 'D' Sculpture" Inspired by the dynamic and influential "Alphabet Series" of the contemporary Constructivist sculptor, Fletcher Benton, my work, titled "The New 'D' Sc...

Steel and acrylic lacquer paint. Joseph Slusky's painted steel sculpture "Zongo" prominently features a circle and exuberant wave form among the angles, but look closer and you'll a...

Note: This is a painted aluminum wall sculpture. Sylvia Stone (b. 1928, d. 2011) was a well-known constructivist-minimalist sculptor. Born in Canada, she came to the US in 1946 at ...

Rondeau (work no. HVP01444) is a small size contemporary modern abstract geometric aluminum sculpture by acclaimed Dutch constructivist Henk van Putten, who was born in The Netherlan...

Numberless the stars swam on their shadowy field (work no. HVP01294) is a contemporary modern abstract geometric granite sculpture by acclaimed Dutch constructivist Henk van Putten, ...

Goodbye (work no. HVP01142) is a small size contemporary modern abstract geometric aluminum sculpture by acclaimed Dutch constructivist Henk van Putten, who was born in The Netherlan...

Bench (work no. HVP01145) is a small size contemporary modern abstract geometric aluminum sculpture by acclaimed Dutch constructivist Henk van Putten, who was born in The Netherlands...

Embrasse (work no. HVP01131) is a unique contemporary modern abstract geometric wood sculpture by acclaimed Dutch constructivist Henk...

Fantasy & Fugue (work no. HVP01132) is a unique contemporary modern abstract geometric wood sculpture by acclaimed Dutch constructivi...

Monastery Gate (work no. HVP03012) is the most unique contemporary modern abstract geometric bronze sculpture by acclaimed Dutch constructivist Henk van Putten, who was born in The N...

Due to the current situation related to the Novel Coronavirus pandemic, our gallery will donate 10% of our commission from this sale to the Kansas City Artists Coalition, which has b...

This Estuardo Maldonado sculpture in engraved stainless steel, it's a unique artist's first edition. The support is in satinated steel.

Xavier Magaldi (1975) lives and works in Geneva. The Swiss artist Xavier Magaldi discovered graffiti in the late 80s, interested in this new artistic movement, it essentially will expand its research work on the letter and freestyle. Graffiti has been able to extract energy and the power of the plot. It is these free art moments...

Xavier Magaldi (1975) lives and works in Geneva. The Swiss artist Xavier Magaldi discovered graffiti in the late 80s, interested in this new artistic movement, it essentially will expand its research work on the letter and freestyle. Graffiti has been able to extract energy and the power of the plot. It is these free art moments...

Xavier Magaldi (1975) lives and works in Geneva. The Swiss artist Xavier Magaldi discovered graffiti in the late 80s, interested in this new artistic movement, it essentially will expand its research work on the letter and freestyle. Graffiti has been able to extract energy and the power of the plot. It is these free art moments...

Xavier Magaldi (1975) lives and works in Geneva. The Swiss artist Xavier Magaldi discovered graffiti in the late 80s, interested in this new artistic movement, it essentially will expand its research work on the letter and freestyle. Graffiti has been able to extract energy and the power of the plot. It is these free art moments...

VMA-012, 2015 Edition / Talla directa sobre marmol blanco de Carrara 36 x 16 x 10,5 cm 14.1 x 6.2 x 41.3 in. The "Tu y Yo" (You and Me) series is based on complementary opposites and contain revealing elements of male and female symbology. As a tribute to his teacher Jesús Soto he introduces direct references to the work of the kinetics in hatched backgrounds of lines to produce the optical vibrations characteristic of that movement. JORGE SALAS...

Escena de recolección de frutas BRY-002, 1937 Edition 1/8 Bronze 200 x 113 x 11.5 cm 78.7 x 44.4 x 4.5 in. ABOUT THE ARTIST Narváez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narváez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narváez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narváez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narváez’s public output continued with works such as the statue of Fermín Toro, La Educación, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narváez, Maderas, Piedras y Bronces” (Francisco Narváez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narváez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narváez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narváez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narváez is a path: the path that Venezuelan sculpture...

welded aluminum painted black