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Joel Perlman
Aluminum Wall
2010

About the Item

Joel Perlman was born in New York City where he continues to work today. He began welding at Central School of Art and Design in London and the University of California, Berkley. Perlman has exhibited extensively both in the US and in Europe. He has been award numerous prestige prizes and bursaries including the John Simon Guggenheim Foundation Fellowship and the Pollock’ Krasner Foundation award. His work is included in both private and public collections including the Hirshorn Museum and Sculpture garden in Washington, DC, the Los Angeles County Museum, California, the Whitney Museum of American Art and the Metropolitan Museum of Art, New York. While an undergraduate student at Cornell University, he learned to weld by taking adult education classes off-campus. This activity became a great influence as he learned alongside bikers, farmers and truck drivers. He earned a BFA at Cornell University, Ithaca, NY in 1965, and an MA degree from the University of California, Berkley in 1967. Perlman has been an instructor at the School of Visual Arts in New York City since 1973. Selected awards include a National Endowment for the Arts fellowship in 1979; The Special Prize from the second Fujisankei Biennale; and Japan Commission for the Tenneco World Headquarters, in 1995. His work is included in the public collections of the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; the Metropolitan Museum of Art in New York City; Storm King Art Center, Mountainville, NY; and the Ursukushi-Ga-Hara Open Air Museum, Japan. Joel Perlman gives the phrase "industrial revolution" new meaning in his recent metal sculptures. His raw metal forms revolve in space. Circular shapes propel forward, like the charging wheels of a runaway locomotive; they spiral upwards, like a twister hitting a scrap yard . We stand back from these works, afraid of being smacked in the head by the flying debris. Then, we are drawn back in by their surfaces, rich with the craftsman's elbow grease. Perlman has been creating complex sculptures out of steel, bronze, and aluminum since the early 1970's. The angular and circular elements are welded or cast in a way that recalls the early constructivist, and the formalist tradition continues. While minimalism was the predominant style of his generation, Perlman chose to push his forms into ever-more complicated, gravity defying, configurations. Though he shares certain qualities with his peers - the thrill of danger in a Richard Serra, the blue-collar heroism of Mark diSuervo - Perlman always investigates with originality. He expands, rather than appropriates, enriching our experience with industrial materials. It took three decades for Perlman to pick up a circle, a shape he always believed too perfect to use. Its deliberate addition pumps unexpected motion and energy into his sculptures. Even his more modest scale pieces, roosting atop pedestals, have the buzz of machinery, hard at work. They recall the collages and maquettes of Vladimir Tatlin and the Russian Constructivists, who like Perlman, admired the creative ingenuity of industry, without imitating the deadening appearance of automation. Up close, we can see Perlman's craftmanship; his oversize connection welds are left exposed. Yet, the source of propulsion remains a mystery. How can such inflexible weight appear to fling itself through the air? These revolutions-in-steel succeed precisely because of the artist's craft. They are handmade, not ready-made. They remind us of a time when men, not machines, made even industrial enviornments. We recall the era of foundries and furnaces, of shipyards and iron works. And, next time we cross the Brooklyn Bridge and stare in awe of its cables and girders, we remember, yes, that it too was made by hand. - Barbara Pollack Sculpting is an adventure for Perlman and each work is the record and result of an exploration of weight, danger, negative space, and monumentality. His process is one that is tied closely to the materials and to the construction and deconstruction that take place during the creation of his sculpture. Perlman often starts by cutting shapes, primarily out of steel, and then welds them together to create the sculpture. About the process of welding, Joel Perlman has said, “I was immediately transfixed by the whole process. The raw power at your disposal, that you could take two pieces of metal, there would be a flash and a buzz, and suddenly they’re one single piece...I felt I’d found a work process that could keep up with my thought process.” The obvious joining lines, surface nicks and scratches record the process of creation, are evidence of the hand of the artist, and articulate a relationship between painting and sculpture. There are no preliminary drawings, for Perlman sees his work as evidence of a process, and the result of an activity. Perlman’s sculptures contain an acknowledged influence of Russian Constructivism in their glory of the geometric form. His works are also known for the central, open spaces that are integral to his work. These negative spaces help define the work and are as important to Perlman as the sculpture itself.

Creator:
Joel Perlman (1943, American)
Creation Year:
2010
Dimensions:
Height: 20 in (50.8 cm)Width: 62 in (157.48 cm)Depth: 4 in (10.16 cm)
Medium:
Metal
Movement & Style:
Conceptual
Period:
2010-
Condition:
Gallery Location:
San Francisco, CA
Reference Number:
1stDibs: LU60633519012

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