Deerman grew a pear 19/25 - figurative, playful, contemporary, bronze sculpture
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Gillie and Marc SchattnerDeerman grew a pear 19/25 - figurative, playful, contemporary, bronze sculpture2022
2022
About the Item
- Creator:Gillie and Marc Schattner (Australian)
- Creation Year:2022
- Dimensions:Height: 11.5 in (29.21 cm)Width: 6 in (15.24 cm)Depth: 6 in (15.24 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Bloomfield, CA
- Reference Number:1stDibs: LU29111118222
Gillie and Marc Schattner
‘We are two people working as one, with a single vision — something no one else is doing in art’. The Australian artistic duo Gillie and Marc Schattner have worked together for 27 years creating art as one and “spreading the love they have for each other across the world.” The artists first met on a film shoot in Hong Kong and 7 days were married in Nepal at the foot of Mount Everest. The artists are best known for their beloved characters, Rabbitwoman and Dogman, who tell the autobiographical tale of two opposites coming together to become best friends and soul mates. As unlikely animal kingdom companions, the two stand for diversity and acceptance through love. Gillie and Marc are passionate eco-warriors and advocate for the protection of animals and the earth. Gillie grew up in Zambia and realized her love for art by sketching the wildlife around her. As a child, she was witness to the murder of an elephant brutally and thereafter dedicated her life and work to protecting animals. While in his twenties, Marc fell in love with conservation on a trip to Tanzania to see Jane Goodall’s work with chimpanzees. From this experience, he gained a deep appreciation of all living and the importance of protecting the balance of nature. Gillie and Marc spread messages of love, equality, and conservation around the world. Their sculptures and paintings can be seen in art galleries and public sites in over 250 cities. The pair are Archibald Prize Finalists, were awarded the Chianciano Biennale in Italy, won People’s Choice Award in Sydney’s Sculpture by the Sea 2 years in a row, and have earned other notable awards and accolades. Their art has raised hundreds of thousands in donations for the many wildlife charities and causes they support.
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Allan Houser's work is in many international collections including the Georges Pompidou Centre, The Smithsonian National Portrait Gallery, and The Dahlem Museum among others. Allan Houser (Haozous), Chiricahua Apache (1914-1994) Selected Collections Centre Georges Pompidou, Paris, France * “They’re Coming”, bronze Dahlem Museum, Berlin, Germany Japanese Royal Collection, Tokyo, Japan “The Eagle”, black marble commissioned by President William J. Clinton United States Mission to the United Nations, New York City, NY *"Offering of the Sacred Pipe”, monumental bronze by Allan Houser © 1979 Presented to the United States Mission to the United Nations as a symbol of World Peace honoring the native people of all tribes in these United States of America on February 27, 1985 by the families of Allan and Anna Marie Houser, George and Thelma Green and Glenn and Sandy Green in New York City. 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This group of Apache people was imprisoned for 27 years starting in Fort Marion, Florida and finally living in captivity in Fort Sill, Oklahoma. Allan Houser was born in 1914. His artwork is an ongoing testimony to Native life in America – its beauty, strength and poignancy. Allan Houser is from the culture and portrayed his people in an insightful and authentic way. Because of the era in which he lived, he had a rare understanding of American Indian life. Allan was the first child born after the Chiricahua Apaches were released from 27 years of captivity. Allan grew up speaking the Chiricahua dialect. Allan heard his father’s stories of being on the warpath with Geronimo and almost nightly heard his parents singing traditional Apache music. Allan’s father knew all of Geronimo’s medicine songs. Allan had an early inclination to be artistic. He was exposed to many Apache ceremonial art forms: music, musical instruments, special dress, beadwork, body painting and dynamic dance that are integral aspects of his culture. His neighbors were members of many different tribes who lived in Oklahoma. Allan eagerly gained information about them and their cultures. Allan gathered this information and mentally stored images until he brought them back to life, years later, as a mature artist. Allan Houser was represented by Glenn Green Galleries (formerly known as The Gallery Wall, Inc.) from 1973 until his death in 1994. The gallery served as agents, advocates, and investors during this time. In 1973 the Greens responded enthusiastically to the abstraction and creativity in Houser’s work. They were impressed, not only with his versatility and talent but with the number of mediums he employed. His subject matter was portrayed in styles ranging from realism, stylized form to abstraction. With encouragement from the Greens, Houser at the age of 61, retired from his post as the head of the sculpture department at the Institute of American Indian Arts in Santa Fe, New Mexico in 1975 to begin working full-time creating his art. The next 20-year period was an exciting time for Allan, the gallery, and for the Green family. He created a large body of sculpture in stone, wood and bronze. For many years Glenn Green Galleries co-sponsored many editions of his bronzes and acted as quality control for the bronze sculptures according to Houser’s wishes. As both agents and gallery representatives, the Greens promoted and sold his art in their galleries in Phoenix and Scottsdale, Arizona and in Santa Fe, New Mexico. They had bi-annual exhibits in their galleries to feature Houser’s newest work and sponsored and arranged international museum shows in America, Europe and Asia. They travelled for these events including a trip to Carrara, Italy to the famed quarries of Michelangelo and together co-financed and arranged the purchase of 20 tons of marble. A watershed event for Allan Houser’s career occurred in the early 1980’s when Glenn Green Galleries arranged with the US Information Agency a touring exhibit of his sculpture through Europe. This series of exhibits drew record attendance for these museums and exposed Houser’s work to an enthusiastic art audience. This resulted in changing the perception of contemporary Native art in the United States where Houser and Glenn Green Galleries initially faced resistance from institutions who wanted to categorize him in a regional way. The credits from the European exhibits helped open doors and minds of the mainstream art community in the United States and beyond. Senator Daniel Inouye of Hawaii was a supporter of Allan Houser’s artwork. 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1970s Contemporary Figurative Sculptures
MaterialsBronze