Tag Archives: Sculpture

Judith Shea, Between Thought and Feeling

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A sculpture that is sometimes overlooked on campus because of its location tucked between the Library and the Classroom and Lab Building, Judith Shea’s Between Thought and Feeling offers a quiet moment of reflection for those who stop to look.

Judith Shea (b. 1948)
Between Thought and Feeling, 1988
Bronze and cast stone

The artists website here: Judith Shea

An essay on the piece by KU Art History Professor David Cateforis: Judith Shea essay by David Cateforis

An article here in artforum that discusses her work and also specifically addresses this sculpture: JUDITH SHEA’S CONTEMPORARY KOREA (artforum.com)

A quote from the article linked above: “In Between Thought and Feeling, 1988, the same bronze sheath form—more clearly than ever identified with the artist—again sits Madonna-like on a large cube, holding an antique head of Alexander the Great that springs up like a phallus from her lap. This once-powerful male ruler is decapitated, however, reduced here to an item of display subordinate to the maternal figure. Here it is the artist/mother who has both mastered and assimilated the past, which can now be offered lovingly but somewhat poignantly as a kind of trophy.”

Eric-Paul Riege Weaving Dance Durational Performance

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Eric-Paul Riege
Diné + American, b. 1994
blanket 4 epr [2] draped upon Shádi’ááh to keep him warm

Shádi’ááh, 2022
Mixed fibers
Private collection
Courtesy of the artist and STARS, Los Angeles

epr blanket [2], 2012–present
Fiber
Courtesy of the artist

Label’s extended identification text:

Eric-Paul Riege makes fiber artworks that draw upon his Diné upbringing and the worldview of hózhó, which conveys a web of physical, mental, and spiritual life. In this work, organic materials and mass-produced, store-bought products seamlessly interact to create animated works of contemporary vitality that are a testament to the aliveness of tradition. The handmade sheep is a potent symbol for the artist, as the U.S. government’s policies have long decimated the sheep population which had acted as a source of livelihood, a weaving resource, and held ceremonial significance for Diné (meaning “the people” in the Navajo language). In his work, Riege grapples with the complex interactions between personal and political discourse, while keeping his familial practices of weaving and jewelry-making strong in the emblematic textile piece.

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The video below showcases a Weaving Dance Durational Performance by Riege for the the Institute of Contemporary Art, Miami, which was part of his Hólǫ́—it xistz exhibition in 2019.

Riege’s work is featured in Actions for the Earth: Art, Care & Ecology.

 

 

Do Ho Suh Some/One

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large metal robe with red interior

Do Ho Suh (b. 1962), Some/One, 2004, Stainless steel military dog tags, steel structure, fiberglass resin, fabric

front image of the Nerman Museum

This work is an iconic piece for the museum. For many of our visitors it is the artwork that they remember most from their visit. Given its impact and success, we might assume that this artist has made works that mostly address military themes. However, Do Ho Suh has a wide-ranging repertoire of sculptural works that address a broad range of themes.

An article in Art21 includes an interview in which the artist specifically discusses his military service and how he started making works that incorporate dog tags: “Some/One” and the Korean Military — Art21

There are more videos and educational resources about Suh’s work Do Ho Suh | Art21

Antony Gormley Still Standing

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Antony Gormley – Artist Website

The work by Antony Gormley in the JCCC Student Center has been on view since long before the museum opened. It’s quiet and stoic presence is sometimes easy to overlook. Take a few minutes to consider this work and its placement. Note that the work is solid and weighs 1,290 lbs (585 kilos)!

Video of some of Antony Gormley’s works in nature:

Article about Antony Gormley in the New York Times: An Indoor Sea and Miles of Metalwork: Antony Gormley’s Crowning Moment

vanessa german quote regarding ET AL … sculpture

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I had the wonderful and unexpected opportunity to chat with vanessa german on the phone yesterday and was able to ask her some questions specifically about the work that we have on view in the museum now. I wasn’t able to record our conversation, but took notes, and was able to jot down some direct quotes.

I asked vanessa about the birds on the heads of the figures and what the symbolism might be and she pointed out that one figure doesn’t have a bird but instead an angel  figure that represents the muse of love – a love that is all encompassing, love that is for the wholeness of your being (your strengths, fears, joys and sorrows) that covers all of the figures.

For the birds, she said that as beings that are part of the natural world they are totally aligned with their insticts and take flight with full sovereignty and as creatures of flight they experience a kind of freedom that others don’t. She said “these are children who made it possible for other children to soar.” 

vg_Craving Light essays

Lastly she noted that birds symbolize liberty, and she quoted abolitionist Henry Ward Beecher “Liberty is the soul’s right to breathe and, when it cannot take a long breath, laws are girdled too tight.”

Henry Ward Beecher – Wikipedia