Winni Brueggemann Art

Ruth Asawa Bronze Flower, 1979 Cast Bronze relief plaque with original presentation box 5 1/4 × 6 1/4 × 1/4 inches Numbered from the Edition of 2500 Signed and dated 'Asawa 1979' (lo...

Mathias Goeritz (German Mexican, 1915-1990) Bronze sculpture Signed and numbered Dimensions: (approximate) Height: 10 inches, Width: 4 inches, Depth: 2 inches. This is a cast bronze sculpture in an amorphous figure shape, quite heavy. Reminiscent of the biomorphic sculpture of Hans Jean Arp. This came from an estate and bears his signature It is not dated. there is no accompanying documentation. it is priced accordingly. Werner Mathias Goeritz Brunner (Danzig, Germany, April 4th, 1915/ now Gdansk, Poland – Mexico City, Mexico; August 4th, 1990). Mathias Goeritz has had several gallery and museum exhibitions, including at the Museo Nacional Centro de Arte Reina Sofía and at the Museo Experimental El Eco. Numerous works by the artist have been sold at auction, including 'MENSAJE' sold at Sotheby's New York 'Latin American Modern Art' in 2015 for $466,000. There have been Several articles about Mathias Goeritz, including 'LACMA remaps Latin America' written by Suzanne Muchnic for the Los Angeles Times. Painter, sculptor and Mexican architect associated with the trend of constructive abstraction. He studied medicine at the University of Berlin, but this only lasted a year. The concerns of the young student were aesthetic in nature so he he studied figurative drawing at the Berlin Charlottenburg School of Art. Some of his friends and colleagues were the sculptor Ernst Barlach, painter George Grosz and draughtsman Kaethe Kollwitz. Goeritz studied philosophy and history of art, discipline in which earned a doctorate. He travelled in France, Switzerland, Czechoslovakia, Poland, Austria and Italy, among other countries. It is known that he left Germany to live in Tetuan, Morocco in 1941 and then Granada, Spain in 1945. In 1946 he had a large exhibition in the Sala Clan in Madrid under the pseudonym "Mago". Two years later, living in Santilla del Mar, Spain he was a founder of the Escuela de Altamira. The following year he married Marianne Gast, writer and his companion for more than fifteen years. In Spain followed his artistic work by important artists of the avant-garde. Of Jewish descent, he found refuge from the Second World War in Mexico where in 1949 he was invited by Ignacio Diaz Morales to be a part of the faculty of the School of Architecture at the Universidad de Jalisco. In 1953 he wrote the "Manifiesto de la Arquitectura Emocional" (The Emotional Architecture Manifesto), where he points out that only achieving true emotions from architecture can it then be considered an art form. In Mexico he entered controversy with the artistic stablishment of that country; in an open letter, Diego Rivera and David Alfaro Siqueiros described him as "an impostor without the most insignificant talent and preparation" to be an artist. Despite this, in 1957 he was elected director of visual design of the National School of architecture This same year he founded the Museo del Eco in Mexico City. In 1961 Goeritz participated at the Galería Antonio Souza in a group exhibition, Los hartos, for which he published another manifesto. Other participants included Jose Luis Cuevas and Pedro Friedeberg, with whom he was instrumental in establishing abstraction and other modern trends in Mexico.His work is included in the Gelman Collection of modern and contemporary Mexican art based in Cuernavaca, Mexico. Established by Jacques and Natasha Gelman in 1943 as a private collection. it includes many iconic works by major Mexican Modernists including Frida Kahlo, Diego Rivera, David Alfaro Siqueiros, Leonora Carrington, Rufino Tamayo and Francisco Toledo, Lola Alvarez...

TEMPIO BRETTON: from the catalogue MONUMENTA, 19th International Sculpture Biennale, Antwerp, Belgium. Tempio Bretton was created in homage to the celebrated English landscapist Capability Brown for the occasion of an exhibition at Bretton Hall in the Yorkshire Sculpture Park , a park in the style of the great master of English garden design. The inclusion in the English garden of a temple ruin, or "eye-catcher," (architectural folly) was used to draw the eye and mind to a focus in time and space, present the beholder with an immediate relationship to an historic past made new within his or her own surroundings, and create a depth of space never before seen in garden design. I took the idea of the temple ruin eye-catcher and reduced it to a scale at the point where architecture and sculpture merged. Tempio Bretton is not capacious enough to walk into, yet it is considerably larger than a man. One view of it presents a knot of golden columns clustered together, topped by a dome shape. The only clue from this side to the temple's non-conformity to historic principle is a sharp notch cut into the square base. Viewed from the opposite side, the cluster of columns capped by an angular top opens up as if to welcome someone in, yet the mysterious core is still impenetrable. These contradictions articulate a confrontation between past and present, and an exciting truth. The past is always at the heart of our constructions in the present. Walter Dusenbery (born September 21, 1939 in Alameda, California) is an American sculptor. He attended the San Francisco Art Institute, earned an MFA from California College of Arts and Crafts, and then studied in Japan and Italy under Isamu Noguchi. He also held teaching positions at Harvard University and University of California, Berkeley Graduate School of Design. From 1971 to 1988, he lived both in Pietrasanta,Italy, and in Little Italy, New York City. Dusenbery's preferred material is stone, particularly travertine or granite. Dusenbery has a particular interest in adding sculpture to public places, such as federal buildings, to humanize the space, but in 1988, he assembled a show of small, entirely hand-carved alabaster sculptures, called "Walter Dusenbery, The Personal Side," at the Fendrick Gallery in Washington, D.C.. In 1977, Dusenbery created Pedogna, on permanent loan from The Metropolitan Museum of Art to Landmarks, the public art program of The University of Texas at Austin. That same year, 1988, he was awarded a large commission for the Fulton County Building Atrium in Atlanta, Georgia. The commission was for three fountains and related structures over three stories in height, designed for informal and ceremonial public events, Limestone, marble, granite and travertine fountains, pavilions, seating and meeting areas, performance and concert platforms, staircases and planters for hanging gardens. After completion of the "Atlantacropolis," Dusenbery withdrew from the gallery world and focused his energy on site-specific commissions. (like the landscape works of Maya Lin and Beverly Pepper) Seeking a large-scale stone studio for projects closer to home, he discovered there were none. In 1995, he approached sculptor and patron of sculpture J. Seward Johnson Jr. with the idea of creating a state-of-the-art stone-carving studio, so that American sculptors would not have to travel abroad to realize their work. Johnson agreed to fund such a facility, if Dusenbery would direct it. In 1996, Dusenbery designed the facility for the Stone Division at Johnson Atelier Technical Institute of Sculpture, and was its first director. The facility was situated in "a building resembling an airplane hangar," The studio offered the ability to digitally scan three-dimensional forms. The Stone Division was a success and attracted a strong group of sculptors: Magdalena Abakanowicz, Lawrence Argent, Barry X Ball...

Piero Manzoni Merda d'Artista - Merde d'Artiste - Artist's Shit, 2013 Sealed tin can in special offset lithograph paper and shrink wrapped sealed with a fingerprint The artist's sign...

The artistic collaboration of Kelly Bugden + Van Wifvat has produced a thought-provoking body of sculptures, paintings, and constructions. Nature, childhood memories, and everyday ar...

Samuel Latour - Collision n°1 - Original Bronze Sculpture 19 x 8 x 8 cm Edition of 8 Signed Samuel LATOUR Formed at Boulle arts and craft school in Pa...

An original conceptual hand carved and joined wood wall sculpture by Kevin Kegler. This work is currently featured in the artist's solo exhibition inside The Corridors Gallery at ...

Modern bronze sculpture of a skeletal lion resting on a slab of black polished granite. Beautiful patina on the bronze that accentuates the intricate details.

The sculpture, Banquet III - Time Capsule Project , is one of the pivotal pieces showcased in the 2016 London exhibition titled “ White. It is within an on-going project by Shizico Y...

Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Yale University, Cornell University, the Museum of Glass, the DeCordova Museum and Sculpture Park, Artists Space, St. John the Divine Cathedral, Grounds for Sculpture, the Museum of American Glass and ODETTA, among others. International exhibitions have included Guangzhou Academy of Fine Arts Museum, Glasgow School of Art, Glasgow Cathedral, Glasgow University, Galeria Sala Uno and Centro de las Artes de Guanajuato. She represented the United States at the Sharjah Biennial, United Arab Emirates and participated in the Berlin Biennial. in 2010 she received the Bronze Prize, the Museum of Contemporary Art, Skopje, Macedonia. Yarrington is a recipient of artist grants and Fellowships from the Pollock Krasner Foundation, the New York Foundation for the Arts, the Pennsylvania Council on the Arts and the Connecticut Commission on Culture and Tourism. She has received Residency Fellowships from the MacDowell Colony, the Museum of Glass, the Museum of American Glass, the Bridge Virtual Residency/ SciArt Center, the Lucile Walton Fellow/Mountain Lake Biological Station, the Virginia Center for Creative Arts, the Anderson Center and the Ucross Foundation, among others. International grants and fellowships have included the Banff Center for Arts and Creativity/Canada, SIMS Residency/ Iceland, Cill Rialaig Artists Residency/Ireland, the Burren College of Art Residency/Ireland and the American Scandinavian Foundation. She is a Professor of Visual and Performing Arts at Fairfield University and lives and works in New York City. STATEMENT In site-specific exhibitions, public art commissions, collaborative and individual projects Jo Yarrington has used varied combinations of glass, waxed surfaces, found artifacts and experimental analog photography to investigate the way we perceive – searching for, experimenting with and developing throughout a sensory-based vernacular. Her mostly translucent materials function as physical framework and symbolic membrane. Light, both natural and ambient, provides a kinetic or time-based element to her work. Scale and the integration of architecture are also pivotal components. In the 6-part installation for the two-person exhibition Illuminated, Yarrington continues her interest in the connections between vision, sound and language. In Mute-ability: Compositions 1 – 6, her title for this light-based comprehensive work, she combines the words mute and malleability. The work focuses on found piano rolls, a music storage medium, originally conceived as coded notations or ‘note control data’ for music produced in pneumatic player pianos...

"Bronze Bull" is an exquisite example of Morris Brose's abstract/figurative sculpture. No soft edges on this piece and no invitation to caress, the power, strength and beauty of the bronze are front and center and create awe. "Bronze Bull" is a free-standing piece signed on the base. Morris Brose, Polish/American was born in Wyszkow, Poland. He became a sculptor and instructor of sculpture at the Detroit Institute of Arts, Wayne State University and Cranbrook Academy of Art, Bloomfield Hills, Michigan. Cranbrook was designed by architect and faculty member, Eliel Saarinen who collaborated with Charles and Ray Eames on chair and furniture design. Numerous creative artists who are alumni of Cranbrook include: Harry Bertoia, Florence Knoll, Jack Lenor Larsen, Donald Lipski...

Striking bronze organic sculpture by Latin American sculptor Raúl Valdivieso (Chilean, 1931-1993). Valdivieso is known for his reinterpretation of the ...