By Albert TenEyck Gardner
Every bit of yankee sculpture within the Museums assortment is mentioned intimately, and there's a concise biography of every of the sculptors. The greater than 350 works signify all significant American sculptors and colleges from the early 19th century to the current day, making this a precious survey in a box the place little released info is out there. a few of the biographies contain attribute or diverting excerpts from heretofore unpublished letters written to the Museum through the sculptors themselves, describing their lives and paintings.
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Extra resources for American Sculpture A Catalogue of the Collection of The Metropolitan Museum
4. , Ghent, 2012, double video projection, 5 & 6 minutes (Courtesy Joachim Koester and Galleri Nicolai Wallner) the past is conjured up. A third recurring motif in Koester’s work is the representation of architectural ruins. For example, Koester has photographed deteriorated modern condominiums in Kaliningrad, Russia (The Kant Walks ), abandoned developments from the communist era in Romania (From the Travel of Jonathan Harker ) and the run-down barracks of the free city of Christiania in the outskirts of Copenhagen (Day for Night Christiania ).
The ship is the heterotopia par excellence’, he concluded. ’15 With this poetic image, Foucault suggested that heterotopias, although real, somehow encapsulate the dreams and desires of a society. In other words, heterotopias may harbour humanity’s attempt to transcend strict social relations and disciplinary structures. Reading through Foucault’s text, the initial opposition between heterotopias and utopias becomes increasingly blurred. Lying at the intersection of the real and the imaginary, they retain some of the positive elements of utopian dreams, being places and spaces where certain of the norms of ordinary life are under suspension.
In its tendency to turn entropy into a transcendental mythical entity, Koester’s work redeploys certain key tropes of conceptual art. In particular, the artist’s representation of Thelema recalls Smithson’s slide show Hotel Palenque (1972). In the slide lecture he gave about the collapsing Mexican hotel to architecture students at the University of Utah, Smithson described the hotel as an irrational and fantastic place. Significantly, the artist repeatedly linked ancient Mayan mythology to the convoluted structure of the hotel.