Honey, we shrunk the art! The return of the micro gallery – Elephant Simon Martin believes it’s the little things that count. As the coronavirus pandemic forced museums the world over to temporarily close, the director of Pallant House Gallery quietly reached out to a cohort of British contemporary artists with a simple yet challenging proposition: to create a small-scale artwork measuring no more than 15 sq cm.
More than 30 creative luminaries have contributed original works to the 2021 Model Art Gallery, ranging from a pair of terracotta vessels by studio potter Magdalene Odundo and a painting by Sean Scully, to a Julian Opie sculpture and a miniature print from photographer Khadija Saye, the only work from her Crowned series not destroyed in the Grenfell Tower fire which took her life.
It’s not the first time the Chichester institution has scaled down: the earliest model gallery in Pallant House Gallery’s collection, The Thirty Four Gallery, debuted in 1934 after art dealer Sydney Burney invited his contemporaries (including Henry Moore, Barbara Hepworth and Vanessa Bell) to create miniature artworks to fill a dollhouse for a charitable cause. Lost for decades, some of the works were later rediscovered in a suitcase by Burney’s grandson. The model was recreated by Pallant House Gallery in 1997 based on photographs of the original designed by the architect Marshall Sisson.
Following on from yesterday’s post on successful and unsuccessful restoration projects, here are a few more. Let’s start with this example of when a more cartoony, less realistic painting was deliberate rather than the result of a botched job.
Ghent altarpiece restorations reveal the alarmingly humanoid face of the famous mystic lamb – Smithsonian Magazine To be fair, the lamb—which features prominently in a panel appropriately titled Adoration of the Mystic Lamb—is meant to represent Christ himself. But perched atop its fluffy woolly-white body, the penetrating, close-set eyes, full pink lips and flared nostrils of the original lamb are, at a minimum, eye-catching, if not alarmingly anthropomorphic. Its “cartoonish” appearance is a marked departure from the serene, naturalistic style characterizing the rest of the scene surrounding it, as well as the other panels, Hélène Dubois, the head of the Royal Institute’s restoration project, tells Hannah McGivern at the Art Newspaper.
For that reason, during the century or so that the painting hung in its full, unadulterated glory, onlookers gazing upon the lamb probably got a more “intense interaction” than they bargained for, Dubois suggests. Perhaps the anomalous nature of this riveting stare was part of the motivation behind a spate of modifications to the painting in 1550, when a second set of artists swapped the lamb’s soul-penetrating gaze for a more “impassive and … neutral” expression, restorers explained in a statement, as reported by Flanders Today’s Lisa Bradshaw in 2018.
As we read yesterday with the Vermeer, these restoration projects can take years…
The restoration of Rembrandt’s The Night Watch begins: Watch the painstaking process on-site and online – Open Culture “It is like a military operation in the planning,” said Dibbets, and it has required the utmost precision and expert teams of restorers, data experts, art historians, and the professionals who moved the enormous painting into the glass case it will occupy during this intense period. The crew of restorers will work from digital images taken with a macro X-ray fluorescence scanner, a technique, says Dibbets, that allowed them to “make a full body scan” and “discover which pigments [Rembrandt] used.”
…but here’s an approach I wasn’t expecting with this painting.
AI helps return Rembrandt’s The Night Watch to original size – The Guardian In 1715, three-quarters of a century after it was painted, the canvas was trimmed – 60cm (2ft) cut from the left side of the painting, 22cm (9ins) from the top, 12cm from the bottom and 7cm from the right – so that the masterpiece might fit between two doors at Amsterdam’s city hall. But using high-resolution photography of what is left of the original, computer learning of Rembrandt’s techniques and a contemporary copy of the full painting by Gerrit Lundens hanging in London’s National Gallery, the Rijksmuseum in Amsterdam was able to reproduce the work in all its glory.
I’m a big fan of Antony Gormley’s spooky and solemn sculptures on Crosby beach near Liverpool, so I was happy to read that they’re being looked after.
Antony Gormley asks for ‘vandalised’ beach sculptures to be cleaned – The Guardian Antony Gormley has asked for paint to be removed from his iron men sculptures on Crosby beach after they were embellished with colourful outfits by an unknown artist. At least nine of the famous group of statues, which face out to sea and have been standing naked on the Merseyside beach for a decade, have been brightly decorated in the past week.
Antony Gormley hopes Crosby statues last 1,000 years after reset – The Guardian One hundred cast-iron statues modelled on Gormley were installed in 2005 at Crosby beach, spread across 3km (2 miles) of the foreshore and stretching almost 1km out to sea. The installation, Another Place, was only supposed to last 16 months in Crosby, and the men were almost sent packing early amid safety complaints including cases of the coastguard being called out to “rescue” them. Sixteen years on, the artwork has become a tourist attraction for the Sefton borough of Merseyside and a beloved local institution. But unnoticed by all but the keenest eye, 10 of the men have been missing in action for the past few years after their concrete support piles disintegrated, plunging them face-first into the mud.
Of course, restoration isn’t just limited to paintings and sculptures. There are people who also want to restore … letters of the alphabet?
Petition · Restore the ampersand as the 27th letter of the alphabet – Change.org The ampersand dates all the way back to 45 AD and Johannes Gutenberg even included it on his first printing press in 1440. During the 19th century, American schoolchildren were taught to end their ABC’s with “X, Y, Z, and per se and” because the ampersand was indeed the 27th letter. But then it mysteriously and inexplicably disappeared from the alphabet. […]
This isn’t just for us. Think of all the uses of the ampersand out there, and all the people and organizations that could benefit from allowing the ampersand back into our alphabet. We’re not asking for much. And to be completely honest, we’re not exactly sure who calls the shots on these sorts of things, but having Merriam-Webster on our side seems like a good start.
For law firms, the ampersand is a character worth saving – ABA Journal Paul Hastings, Norton Rose Fulbright, Hogan Lovells, Proskauer Rose, Baker Botts: the list of new BigLaw titles built on the corpses of ampersands is almost endless. All these firms discarded their ampersands as if they were ashamed of them. The BigLaw ampersand now stands on the precipice of extinction. Accordingly, it is up to BigLaw partners and associates to see to its survival. You’re thinking, “But what can I do? I’m only one lawyer among tens of thousands?” You have answered your own question: You are one of tens of thousands. Your voice, added to the voices of your brother and sister lawyers across the land, can be a mighty chorus demanding the restoration of the ampersand to its rightful place in American law.
Here’s another bookish sculpture to go with the others I found a while back.
Idiom installation – Atlas Obscura For bibliophiles, an infinite tower of books is a nightmare disguised as a dream—a huge collection of literature that you can’t get at because pulling a book or two out will cause the collapse of the tower. But it does make for a wonderful sight.
A real-life iteration of this dream-nightmare is on display at the Prague Municipal Library. Artist Matej Kren’s “Idiom” is a long-term art installation where hundreds of books are stacked in a cylindrical tower. Mirrors placed at the bottom and the top give the exhibit the illusion of being infinite. A tear-shaped opening on one side of the tower allows visitors to peek in and experience what it would be like to drown in a book well.
Matej Kren’s ‘Idiom’ – Awayn Located quite centrally, it’s a fun five minute stop to get some fresh photos and look at the book tower. Though it’s a lovely way for people to step into the building, you don’t have to go too far into it, so you don’t disturb anyone who goes for the actual library. As you come in the main entrance, it is literally in front of you; need to walk upstairs.
Here are some more photos of this little/infinitely large landmark. (via)
Time for another post about trees, I think. Here are a couple of links that have been languishing in my drafts folder for a while.
Gramazio Kohler Research, ETH Zurich plants ‘future tree’ in Swiss courtyard – designboom This structure — known as the ‘future tree’ — combines state-of-the-art design techniques, material science, and robotic fabrication to create an eye-catching architectural object. Demonstrating the latest research of Gramazio Kohler Research at ETH Zurich, the ‘future tree’ consists of a funnel-shaped, lightweight timber frame structure built by a robot, and a bespoke concrete column created using an ultra-thin 3D printed formwork. The entire design and fabrication were developed as inseparable and fully digital processes.
The photographs documenting its construction are extraordinary.
Ai Weiwei: Iron Tree – Yorkshire Sculpture Park Iron Tree is the largest and most complex sculpture to date in the artist’s tree series, which he began in 2009. Inspired by the wood sold by street vendors in Jingdezhen, southern China, Iron Tree comprise of 97 tree elements cast in iron and interlocked using a classic – and here exaggerated – Chinese method of joining. Iron Tree expresses Ai’s interest in fragments and the importance of the individual, without which the whole would not exist.
Artificial trees of a different kind, now. OK, so the trees are real, but their glitch-art shapes certainly aren’t natural.
Of, or For Mary Wollstonecraft? – History Workshop Hambling asserts that it is a sculpture, rather than a statue, that is for Wollstonecraft, not of her. A video to mark the unveiling of the statue premiered on the Mary on the Green social media profile in which Hambling describes the design as ‘a tower of intermingling female forms, culminating in the figure of the woman at the top who is challenging, and ready to challenge, the world.’ The ‘intermingling’ forms are suggestive of a historic community of women, out of which the more detailed, lone female figure is born into the ‘now’. This design choice is intended to represent the legacy of Wollstonecraft’s feminist work.
But, as this piece from The Art Newspaper says, even backlashes get a backlash.
What I like about Hambling’s figure is that it is nude, but not erotic. Wollstonecraft would have recognised the honesty of Hambling’s focus. “For man and woman,” she wrote in The Vindications of the Rights of Women (1792), “truth… must be the same; yet the fanciful female character, so prettily drawn by poets and novelists, demanding the sacrifice of truth and sincerity, virtue becomes a relative idea, having no other foundation than utility, and of that utility men pretend arbitrarily to judge, shaping it to their own convenience.” Naked, stripped of outward signs of wealth and privilege, we are all equal.
This status, for a very different woman, is also proving controversial, though for very different reasons.
Is Margaret Thatcher’s hometown ready to put her on a pedestal? – The New York Times [W]hile the unveiling of a statue is usually a festive occasion, few in Grantham expect Mrs. Thatcher’s homecoming to be celebrated as a hero’s return. “If you’re a Conservative,” said Graham Newton, the news editor of the weekly Grantham Journal, “you want a statue, and you want her recognized. But if you’re not, there’s a lot of people who — not to put a fine point on it — hated her.”
“She was never very fond of Grantham, and so Grantham was never very fond of her,” said John Campbell, a biographer, pointing out that Mrs. Thacher rarely visited the town as prime minister, and did not mention it in speeches. “She was happy to leave it behind,” he said.
“You come out of the museum and the first thing you’re going to see is a 26-foot-tall Marilyn Monroe with her entire backside and underwear exposed,” Grachos pointed out. “We serve over 100,000 school-age children that come to our museum every single year. What message does that send to our young people, our visitors and community to present a statue that objectifies women, is sexually charged and disrespectful?”
Has anyone checked for any radio signals being transmitted to Jupiter?
DPS Aero Bureau encounters monolith in Red Rock Country – DPS News Official Statement from the Bureau of Land Management: “Although we can’t comment on active investigations, the Bureau of Land Management would like to remind public land visitors that using, occupying, or developing the public lands or their resources without a required authorization is illegal, no matter what planet you are from.”
Even Utah’s mysterious monolith may be no match for Google Earth – The Verge A Utah DPS public affairs officer didn’t immediately respond to a request for comment about the supposed location of the monolith. And I’m not printing the alleged coordinates beyond confirming that the place is remote and highly inhospitable. In all seriousness: please don’t visit the mysterious Utah monolith.
That said, the monolith-hunting process is impressive in its own right. And the evidence for its location, put forward by Reddit user Tim Slane, is strong. Slane pinpointed the coordinates of a small redstone canyon with a narrow gap that closely matches the social media photos. Satellite images from Google Earth reveal something in the middle: a hard-to-see object that casts a sharp, tall, and narrow shadow across the ground. The object seems relatively new. Google Earth photos from 2013 and mid-2015 show no trace of it, but it’s clearly visible by October of 2016, when the surrounding ground has also been apparently cleared of scrub.
Looks like the aliens have come back for their property.
Earthlings, it seems, not aliens, removed the Utah monolith – The New York Times He did not photograph the men who took down the sculpture, saying he “didn’t want to start a confrontation by bringing out my camera and putting it in their face — especially since I agreed with what they were doing.” But a friend who accompanied him on the trip, Michael James Newlands, 38, of Denver, took a few quick photographs with his cellphone.
Dutch museums unveil free digital collection of 1,000+ artworks by Van Gogh – My Modern Met Van Gogh Worldwide is a new project by a group of Dutch museums which presents a digital collection of over 1,000 of the artist’s masterpieces. Building off the digitized collection begun several years ago by the Van Gogh Museum in Amsterdam, almost half of the post-Impressionist works of this prolific artist are now available to view—with scholarly commentary—from the safety of your own home.
Take a wander yourself, there’s so much to take in.
Van Gogh Worldwide Van Gogh Worldwide is a free digital platform providing art-historical and technical data about the work of Vincent van Gogh (1853–1890). The artist produced a total of approximately 2000 artworks, and the aim of Van Gogh Worldwide is to present data for these in an accessible way, via a user-friendly website.
The resolution of each image is wonderful, allowing you to get closer to the paintings than you probably could in real life.
And you can even view the paintings in a raking light, to get a sense of just how heavily textured and expressive these were. Not quite as three-dimensional as Timur Zagirov’s wooden blocks, but still.
Spindly trees, I’m a big fan. They’re just giant, 3D pen and ink drawings, really, and I’ve been snappingphotos of them for a while. Though none of my pics come anywhere close to capturing the atmosphere of these tulgey woods, as Things Magazine described them.
Mystical – Neil Burnell “There’s real magic in this series, with thick fog shrouding the gnarled moss-clad oaks, one can almost visualise fairies flying effortlessly into the scenes.”
Perhaps my love of twisty, organic lines explains why I found these sculptures by Sun-Hyuk Kim so fascinating.
Stainless steel roots sprawl into figurative sculptures by artist Sun-Hyuk Kim – Colossal Just like a tree, the spindly branches that shape Sun-Hyuk Kim’s sculptures extend from a larger, sturdy limb—or in the South Korean artist’s case, neck or spine, too. Kim creates sprawling artworks that merge human anatomy and the root systems that crawl underneath the earth’s surface. Sometimes painted in neutral tones and others plated in gold, the sculptures are composed of stainless steel that trails out into figurative forms.
Banksy’s not the only street artist out there trying to make a difference.
Stik hoping to raise £120k at auction to fund sculptures by local artists – Hackney Citizen Hackney’s street art megastar Stik is to auction off a unique model of his first ever public sculpture, Holding Hands, to fund a series of outdoor artworks by local artists. The maquette, a one-off, small-scale version of the sculpture, is predicted to fetch around £120,000 when it opens for bidding at Christie’s tomorrow as part of the auction house’s ‘Post-War and Contemporary Art’ sale. All proceeds will be donated to Hackney Council to help bankroll a series of public works by East London artists.
Hackney Street artist Stik to ‘empower’ local artists by funding a series of sculptures – Hackney Gazette Hackney Mayor Phillip Glanville thanked the artist, who has lived and worked in Hackney for 20 years, for his “record of activism” and generous donation. “We’re proud in Hackney to be able to support and share the creativity of our residents. This represents a long-standing commitment to inclusive public art that can be enjoyed by everyone in our parks and public spaces and I can’t wait to see the creativity that Stik is helping us to showcase and unlock,” the mayor said.
Check out Christie’s video about the original sculpture.
Ingredients. — Thin cold toast, thin slices of bread-and-butter, pepper and salt to taste. Mode. — Place a very thin piece of cold toast between 2 slices of thin bread-and-butter in the form of a sandwich, adding a seasoning of pepper and salt. This sandwich may be varied by adding a little pulled meat, or very fine slices of cold meat, to the toast, and in any of these forms will be found very tempting to the appetite of an invalid.
A couple of recent Colossal finds that I thought went well together.
Rope twists into massive, fibrous circuit boards by artist Windy Chien – Colossal I find the metaphor of the journey to be potent and relevant here. For me, the visual pleasure derived from the Circuit Boards comes from choosing one rope end and following it to the conclusion of its journey through the work. Electronic circuit boards connect and conduct power; subway maps (maps in general) provide a kind of simulation of a journey, a guide to choices and paths.
Constellations of found electronics shape faces on vintage rackets by Artist Leonardo Ulian – Colossal The egg shape of the “head” of these vintage rackets reminded me of something yet familiar but at the moment lost. The result is a composition that resembles vaguely a human face made from a recycled object from the past, the racket, clashing with the rest of the elements, electronic parts, and the found objects. Then, an anomaly called “pareidolia,” the mechanism that leads our brain to bring things and objects of all kinds back to known and sensible forms does the rest. Will these be the faces of the future?
Some time in the 90s, I was convinced, absolutely convinced, that I had come across a secret Christo within the grounds of the University of Leeds. Of course it turned out just to be some wrapped scaffolding for a building renovation project. It did look pretty cool, though, and gave me just an inkling of what looking at the Reichstag (and perhaps still the Arc de Triomphe?) might have been like.
Christo (1935–2020) – Christo and Jeanne-Claude Artist Christo Vladimirov Javacheff, known as Christo, passed away of natural causes today, on May 31, 2020, at his home in New York City. He was 84 years old. Statement from Christo’s office: “Christo lived his life to the fullest, not only dreaming up what seemed impossible but realizing it. Christo and Jeanne-Claude’s artwork brought people together in shared experiences across the globe, and their work lives on in our hearts and memories.
How the visionary artist Christo (RIP) changed the way we see the world – Open Culture After removing the wrapping from the Biscayne Bay islands, a project he called “my Water Lilies” in honor of Claude Monet,” Christo remarked that Surrounded Islands lived on, “in the mind of the people.” So too will Christo live on—remembered by millions as an artist who did things no one else would ever have conceived of, much less carried out.
The story behind Christo′s ′Wrapped Reichstag′ – DW In 1978, Christo presented a model of a veiled Reichstag at the Zurich Museum für Gestaltung (Museum of Design). Despite the troubled history of the structure built in the late 19th century under Kaiser Wilhelm II, Christo saw it as a symbol of freedom: the Republic was proclaimed there in 1918. Freedom had been a recurring theme in Christo’s art since his escape from communist Bulgaria in 1951.
Let’s have a break from all that, with news of an exhibition in London I’d love to see, Among the Trees: “By turns poetic, adventurous and thought-provoking, this group exhibition explores our relationship with trees and forests.” As we saw earlier, they can be remarkably eloquent.
Five things to know about Among the Trees – Southbank Centre
There are artworks that push at the very limits of the building, and celebrate the soaring scale of trees. Eija-Liisa Ahtila’s huge, cinematic portrait of a 30-metre spruce, for example, takes over almost the entirety of one of the lower galleries, while Guiseppe Penone’s Tree of 12 Metres (1980–82), a sapling painstakingly excavated from an industrially planed piece of timber, stops just short of the ceiling.
Among the Trees review – a knotty problem – The Guardian
Running the entire width of one floor at London’s Hayward gallery is a six-screen video which depicts, at about life size, a spruce tree swaying in the breeze in Finland. To accommodate its scale, the tree is projected horizontally, and at its foot stands the artist Eija-Liisa Ahtila, in a blue parka, dwarfed by the spreading conifer. The six projected sections of the tree tremble and sway out of sync with one another, adding to a growing sense of majestic befuddlement. You can’t take it in all at once, any more than you could if you stood before the real thing. Distantly, I hear the branches soughing and faint birdsong. Titled Horizontal – Vaakasuora, it makes you look and look some more.
Here’s some more artistic woodwork.
Trees at night: stunning Rorschach silhouettes from the 1920s – Brain Pickings
In his fifties, Young’s imagination fell upon a subject both wholly natural and wholly original — the expressive humanlike shapes, states, and emotions emanating from the silhouettes of trees at night. He began rendering what he half-saw and half-imagined in pen and ink — haunting black-and-white drawings full of feeling, straddling the playful and the poignant. These visual poems, replete with the strangeness and splendor of nature and human nature, become the kind of Rorschach test one intuitively performs while looking at the sky, but drawn from the canopy rather than the clouds.
Dancing twigs – Kottke
Artist Chris Kenny uses bits of twig from tree branches to make these interesting found art pieces that exploit the human tendency for pareidolia.
And finally, here’s a request for us to reconsider our view of trees within cities, and to appreciate the many benefits mature trees can bring to society. (via Sentiers)
Trees as infrastructure – Dark Matter Laboratories
[T]he ecological benefits of trees substantially start after 50 years of existence; we are currently building a deficient urban forest. Shifting our view to perceive public trees as assets rather than liabilities is an important aspect of maintaining and enhancing the benefits that trees provide in an urban setting.
Collectable Hieronymus Bosch figurines – Dangerous Minds
I’m not a big knickknack person. I like to keep my home sparse in the “tiny objects” departament. But I must admit I really do dig these Hieronymus Bosch figurines. They’re kinda cool-looking in their own obviously weird way. I especially like the ones from Bosch’s Garden of Earthly Delights.
Those not familiar with this strange Dutch painter from the 1400s should start here.
Hieronymus Bosch review – a heavenly host of delights on the road to hell – The Guardian
The public face of Bosch, walking the streets of this little city, was that of a good townsman and Catholic. His private thoughts emerge in the most unexpected and miraculous of all the treasures assembled – his drawings. … They show us the secret Bosch, a man with a mind full of monsters. One drawing is called The Wood Has Ears, The Field Has Eyes – a saying inscribed as on Goya’s Caprichos. Human ears hang from the trees. Human eyes stare out of the ground. It is like a Magritte. Only much scarier.
And for a spectacular, in-depth look at his most famous painting, check out this interactive, incredibly detailed version from the team behind the documentary Hieronymus Bosch, Touched by the Devil.
I have the pleasure (?) of living in a household with a number of brass instruments, but I’ve never seen anything like these.
Brass horns mounted in interactive sculptures by Steve Parker emit sound by touch – Colossal
Artist and musician Steve Parker’s latest interactive projects invite viewers to feel the music—literally. Activated by touch, “Ghost Box” plays randomized audio segments on a loop, including the ticks of Morse Code, the chorus of spirituals, and the blows of the shofar and Iron Age Celtic carnyx. Each time someone makes contact with a part of the wall sculpture, a new noise emits. Inspired by WWII era short wave radio, the mounted piece is constructed from a mix of salvaged brass, tactical maps, paper musical scores, wires, map pins, electronics, audio components, and an instrument case. The name even references the paranormal tool sometimes employed when people try to communicate with those who have died.
And whilst these may look loud, they’re actually listening devices that remind me of those concrete sound mirrors.
Tubascopes – Steve Parker
The Tubascope is a sculpture that works likes a telescope for your ears. Modeled after obsolete WWII acoustic locators, the Tubascope is made from reclaimed and repurposed brass instruments that have been augmented with tubing and headphones. When used, the Tubascope helps a person focus their listening on specific, far away sounds that may have been otherwise unnoticed.
Now, these mad trombone and trumpet shapes really reminded me of paintings I first came across at university (25 years ago now? goodness me), but I couldn’t for the life of me remember who they were by—murals, I think, in collaboration with school children, somehow. And for all I moan on about Google, it did come to the rescue with such vague search terms as painting, trumpets, children, mural.
Tim Rollins & K.O.S. – Institute for Research in Art
The history of Tim Rollins and K.O.S. (Kids of Survival) is a story of art and education triumphing over the hardships of life. It is a story which might have been torn from the pages of great literature. In fact, the group uses pages cut from classical literature as the groundwork for many of their paintings and as the source of imagery for their works.
Yes, that’s the one! He was a teacher in the 80s working with under-privileged kids to create art that would “transport his students from the tough streets of New York to the inner sanctums of major museums as celebrated artists”.
From Madrid and Miami, art that asks us to reflect on the ongoing climate crisis in a visually striking way.
Paintings from Prado Museum Collection given climate change makeovers – Colossal
Museo del Prado (Prado Museum) recently collaborated on a project with the World Wildlife Fund (WWF) designed to coincide with the 2019 UN Climate Change Conference in Madrid. Paintings from the museum’s collection were digitally modified to reflect a future world destroyed by inaction. Rising sea levels, barren rivers, and refugee camps transform works by European painters into a campaign to save the environment.
A traffic jam of sand cars by Leandro Erlich is blocking Miami Beach – Colossal
Erlich’s installation, titled “Order of Importance,” is an effort to put conversations surrounding climate change front and center. Commissioned by the city of Miami Beach and curated by Ximena Caminos and Brandi Reddick, the installation features 66 life-sized cars and trucks erected on the beach at Lincoln Road. Made of sand, the vehicles blend in with the surrounding beach and highlight the temporary nature of their construction.
We’ve seen that the impact of AI on the art world has been quite transformative. Here’s how another new technology is changing what’s possible.
Umberto Boccioni: Recreating the lost sculptures
The destruction, in 1927, of a number of plaster and mixed-media sculptures by the Futurist artist Umberto Boccioni (1882-1916) was a tragic loss for avant-garde art. Of the many ground-breaking sculptures he created between c.1913 and 1915, only a handful remain in existence today. Now, using a combination of vintage photographic material and cutting-edge 3D printing techniques, digital artists Matt Smith and Anders Rådén have recreated four of Boccioni’s destroyed works: a volumetric study of a human face titled Empty and Full Abstracts of a Head, and three of the artist’s iconic striding figures. This ground-breaking display enables modern audiences to ‘see’ these lost masterpieces for the very first time.
Boccioni’s best-known three-dimensional work is Unique Forms of Continuity in Space, the original plaster version of which belongs to the University of São Paulo’s Museum of Contemporary Art. One of the most instantly recognisable of all modernist sculptures, it appears on the Italian 20c coin. Dating from 1913, the work represents an aerodynamic figure – part man, part machine – racing energetically towards the brave new world envisioned by the Futurist movement. It was preceded by three sculptures on the same theme: Synthesis of Human Dynamism, Speeding Muscles and Spiral Expansion of Muscles in Movement. Until now, all that remained of these earlier works were a number of photographs taken in Boccioni’s studio and at three exhibitions around the world from 1913 to 1917. Careful study and comparison of these images has now enabled the creation of highly accurate 3D reconstructions of the original works, which were entrusted to a sculptor named Piero da Verona following the artist’s death, who subsequently disposed of them.
Here’s more on his most famous piece, from New York’s MoMA. It’s very striking.
Umberto Boccioni. Unique Forms of Continuity in Space. 1913 (cast 1931 or 1934) Unique Forms of Continuity in Space integrates trajectories of speed and force into the representation of a striding figure. It does not depict a particular person at a specific moment, but rather synthesizes the process of walking into a single body. For Boccioni, one of the key figures in the Italian Futurist movement, this was an ideal form: a figure in constant motion, immersed in space, engaged with the forces acting upon it.
It reminded me of Universal Everything’s Walking City, but I think I prefer this version they did for Hyundai. More dynamic, and the merging of figures with speed and transport is definitely a key Futurist theme.
Building upon Universal Everything’s series of films exploring human movement and digital costumes, Running Man is an expression of Resource Circulation, the automotive company’s eco-friendly production process – from steel to car to steel. The digital artwork’s sequence of costumes is inspired by this looping production cycle, as it evolves from scrap metal to molten and rolled steel, before being formed into a car frame, designed body and the fully realised car. The process is completed as the car is streamlined and recycled into the raw materials.
Busted flush: Man arrested over theft of solid gold toilet in England
Det Insp Jess Milne said: “The piece of art that has been stolen is a high value toilet made out of gold that was on display at the palace. The artwork has not been recovered at this time, but we are conducting a thorough investigation to find it and bring those responsible to justice.”
That headline-grabbing golden loo was only one of Maurizio Cattelan‘s many not-so-subtle provocations at Blenheim Palace.
The Art Newspaper have updated their report of the story with photos showing the damage caused by the theft.
‘I wish it was a prank’: Maurizio Cattelan on the surreal theft of his golden toilet
The burglars caused “significant damage and flooding” after removing the toilet, which was plumbed in, at around 4.50am this morning. A 66-year-old man has been arrested in connection with the incident. Thames Valley Police say that a group of offenders used two vehicles during the theft. Commentators on social media fear however that the work may be melted down.