
One Cent and Globe Sculpture
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Tom OtternessOne Cent and Globe Sculpture2000
2000
Price:$625
$1,000List Price
About the Item
- Creator:Tom Otterness (1952, American)
- Creation Year:2000
- Dimensions:Height: 6.25 in (15.88 cm)Width: 8.75 in (22.23 cm)Depth: 4 in (10.16 cm)
- Medium:
- Movement & Style:
- Condition:Paint peeling and soiled (it might have come this way), otherwise good condition.
- Gallery Location:Surfside, FL
- Reference Number:1stDibs: LU382832293
Tom Otterness
Tom Otterness was born in Wichita, Kansas in 1952. By 1970 he had arrived in New York to attend the Art Students League, followed by The Independent Study Program at the Whitney Museum of American Art. Otterness redefines the tradition of cast bronze figurative sculpture by using whimsical cartoon-like figures to make critical commentaries on political and social issues. Not only do his sculptures vary in size from colossal to minute, they also address a wide range of emotions and experiences. Their placement in parks, subway stations, and other public areas around the country allow the works to be appreciated by people from all walks of life. Otterness’s combination of unforeseen subject matter and fanciful characters makes his work universally appealing. Otterness works mainly in bronze sculpture, but his ideas have been realized on paper in the form of drawings and etchings. The unique, simplified forms he creates to convey thought-provoking themes succeed in whichever medium Otterness employs. He currently lives and works in New York City. Otterness has received a number of public commissions across the United States and abroad, and he is represented in many public collections including the Brooklyn Museum of Art, Brooklyn, New York; Dallas Museum of Art, Dallas, Texas; Solomon R. Guggenheim Museum, New York, New York; Israel Museum, Jerusalem, Israel; IVAM Center Julio Gonzalez, Valencia, Spain; Museo Tamayo, Mexico City, Mexico; Museum of Modern Art, New York, New York; San Francisco Museum of Modern Art, San Francisco, California; and the Whitney Museum of American Art, New York, New York.
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George Aarons (born Gregory Podubisky, in St. Petersburg, Russia, 1896 - died in Gloucester, Massachusetts 1980) was a distinguished sculptor who lived and taught in Gloucester, Massachusetts, for many years until his death in 1980. He had, many students in the area and he designed Gloucester's 350th Anniversary Commemorative Medal.
Aarons moved from Russia to the United States when he was ten. His father was a merchant. He began taking drawing classes during evenings at Dearborn Public School in Boston as a teenager and went on to study at the Boston Museum of Fine Arts in 1916. Aarons later moved to New York City to study with Jo Davidson, and other Paris-trained masters at the Beaux-Arts Institute. He eventually returned to the Boston area and established studios in Brookline and Gloucester, Massachusetts. During his lifetime, he was recognized internationally and won several prestigious awards. Aarons had studios in Brookline, Massachusetts and Gloucester, Massachusetts where he produced large bronze and marble figures and wood carvings. He produced several projects for the Works Progress Administration including a group of three figures for the Public Garden (Boston), a longshoreman, fisherman and foundry worker, as well as a large relief (1938) for the South Boston Housing Project and façade of the Baltimore Hebrew Congregational Building (1956).
His works are at the Museum of Art in Ein Harod, Israel; Fitchburg Art Museum in Massachusetts, Musée de St. Denis in France; Hilles Library at Radcliffe College in Cambridge, Massachusetts; and Hillel House at Boston University in Massachusetts.
He did reliefs for Siefer Hall at Brandeis University in Waltham, Massachusetts (1950); Edward Filene (the founder of Filene's Department Store and a philanthropist) on the Boston Common; Fireman's Memorial in Beverly, Massachusetts; a memorial to Mitchell Frieman in Boston; the U.S. Post Office in Ripley, Mississippi; and at the Cincinnati Telephone Building; the Combined Jewish Philanthropies building in Boston (1965); and a commemorative medal for the 350th Anniversary of the City of Gloucester, Massachusetts (1972).
Characteristic of his era, George Aarons was among the foreign-born American sculptors of the early 20th century who started their careers as academicians and evolved into modernists and increasingly abstract artists.
Over thirty pieces spanning the length of this sculptor's career were featured in this exhibition, including work in various medium bronze, wood and original plasters. Like his contemporaries, Aarons experimented with direct carving in wood, and he was one of the few academically trained sculptors who consistently cut his own works in marble. His early work was classically inspired figurative work, along with sensitive portraits. Some of his most powerful sculpture comes from his middle period, when he worked through his emotional pain following the global realization of the Jewish Holocaust. He depicted humanity deep anxiety over this tragedy with figures that are at once symbolically charged and movingly beautiful. Aarons late work consists of radically simplified forms that continue to reference the human form and often are carved directly in wood and stone.
Aarons summered and taught classes on Cape Ann for many years before moving to Gloucester full-time with his wife about 1950. While Aarons is best known locally for his domestic-scale works, he also executed numerous monumental, public commissions that can be found throughout the United States in cities such as Washington, D.C.; Baltimore, Maryland; and Cincinnati, Ohio; as well as in France and Israel.
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Aarons told the Gloucester Daily Times in September 1954 that he found it hard to remember at just what age he started studying art, but he recalled that the nude model had to partially dress when he was in class because he was so young. He initially studied painting and drawing at the museum school, but he once said he became fascinated by sculpture when he met an established sculptor at the Copley Society in Boston who invited Aarons to his studio and offered him some clay to "play around" with.
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