David Bennett

Acrobatic Man

2004

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 ...

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.

A mythical piece of Daum's legacy, "Horse Carrying Fire" is inspired by legend. This magnificent horse with its fine silver embellishment appears to have stepped straight out of a th...

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...

Interdisciplinary artist Amber Lelli is interested in exploring concepts, asking questions, and choosing the medium and materials best fit for those ideas. Looking through her portfo...

Interdisciplinary artist Amber Lelli is interested in exploring concepts, asking questions, and choosing the medium and materials best fit for those ideas. Looking through her portfo...

Interdisciplinary artist Amber Lelli is interested in exploring concepts, asking questions, and choosing the medium and materials best fit for those ideas. Looking through her portfo...

Metamorphosis I is the first piece in Kiva Ford's "Metamorphosis" series exploring the life cycles of various animals. Drawing from his training as a scientific glassblower, Ford e...

Pohlman and Knowles began their collaboration in 1992. They use a variety of materials in their rich assemblages, including hot-sculpted glass, various metal works, found objects and...

Pohlman and Knowles began their collaboration in 1992. They use a variety of materials in their rich assemblages, including hot-sculpted glass, various metal works, found objects and beads, achieving a fine sense of formal balance. Three notable research field trips...