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A Selection of Sculptures

October 23, 2024 – February 28, 2025

Virtual

ARTWORK ABOUT INQUIRE ADDITIONAL RESOURCES ARTISTS

ARTWORK

Alexander Calder was a key figure in the development of abstract sculpture and is renowned for his groundbreaking work in kinetic art; he is one of the most influential artists of the Twentieth Century. "Prelude to Man-Eater" is a delicately balanced standing sculpture that responds to air currents, creating a constantly changing and dynamic visual experience.
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<br>Calder's Standing Mobiles were a result of his continuous experimentation with materials, form, and balance. This Standing Mobile is a historically significant prelude to a larger work commissioned in 1945 by Alfred Barr, the first director of the Museum of Modern Art in New York. "Prelude to Maneater" is designed to be viewed from multiple angles, encouraging viewers to walk around and interact with it.
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<br>The present work is a formal study for Man-Eater With Pennant (1945), part of the permanent collection of the Museum of Modern Art in New York. The work is also represented in "Sketches for Mobiles: Prelude to Man-Eater; Starfish; Octopus", which is in the permanent collection of the Harvard Fogg Museum.
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<br>Calder's mobiles and stabiles can be found in esteemed private collections and the collections of major museums worldwide, including the Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Whitney Museum of American Art, New York, the Art Institute of Chicago, and the Tate Gallery in London among others.

ALEXANDER CALDER

Prelude to the Man-Eater

59 x 42 x 18 in.

sheet metal, wire, paint

Circle of Animals/Zodiac Heads: Gold

gold-plated bronze in 12 parts

AMOR (Red Yellow)

96 x 96 x 48 in.

polychrome aluminum

Edition: 2/5 (Edition 5 + 2AP)

<div><font face=Calibri size=3 color=black>Camille Claudel's life story reflects an era when societal constraints often dimmed the brilliance of women; their genius was viewed as a threat to the male-dominated world. Most introductions to Claudel are steeped in misleading biographical details related to her as Rodin's assistant, mistress, or lover, associations that diminish her achievements as a first-rate sculptor whose work borrows little from Rodin in style or subject matter. Despite these challenges, Claudel's legacy has endured, celebrated through exhibitions, biographies, and films since her rediscovery in 1982. </font></div>
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<br><div><font face=Calibri size=3 color=black><em>“La Vague (The Wave),”</em> a remarkable sculpture of three women frolicking joyfully, embodies Claudel's passion for art and connection to nature. The women, their hair unruly like the sea, are depicted in a moment of freedom and abandon, yet the looming wave hints at the inevitable sorrow to come—a metaphor for Claudel's life, shadowed by fate. This piece, initially shown in plaster and later cast in bronze with an onyx marble wave, draws direct inspiration from Hokusai's <em>“The Great Wave,”</em> reflecting the Parisian fascination with Japanese art at the time. While <em>“La Vague”</em> showcases Claudel's technical mastery and the influence of Japanese aesthetics, it also poignantly symbolizes her acceptance of the overpowering forces of nature and the tragic course her life would ultimately take. This bronze, cast in 1997, is one of only two not held in a museum, further emphasizing the rarity of and reverence for Claudel's work.</font></div>

CAMILLE CLAUDEL

La Vague (The Wave)

24 1/4 x 19 x 24 in.

A major figure in both the Abstract Expressionist and American Figurative Expressionist movements of the 1940s and 1950s, Elaine de Kooning's prolific output defied singular categorization. Her versatile styles explored the spectrum of realism to abstraction, resulting in a career characterized by intense expression and artistic boundary-pushing. A striking example of de Kooning's explosive creativity is Untitled (Totem Pole), an extremely rare sculptural painting by the artist that showcases her command of color.
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<br>She created this piece around 1960, the same period as her well-known bullfight paintings. She left New York in 1957 to begin teaching at the University of New Mexico in Albuquerque, and from there would visit Ciudad Juárez, where she observed the bullfights that inspired her work. An avid traveler, de Kooning drew inspiration from various sources, resulting in a diverse and experimental body of work.

ELAINE DE KOONING

Untitled (Totem Pole)

97 x 12 3/8 x 12 3/8 in.

oil on canvas stretched over cardboard cylinders

Under the Tang China experienced a period of great cultural flowering, remarkable for its achievements across all areas of the arts and sciences. The tolerance of the Tang Imperial Court to outside influence and the free movement along the East- West trade route known as the Silk Road saw major urban centres become thriving cosmopolitan cities, with the Chinese capital, Chang’an (modern Xian) expanding to reach a population of over one million.
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<br>In keeping with centuries of tradition, funerary rites remained very important. A separate government department existed with responsibility for overseeing the manufacture of funerary wares. Officially there were limits on the number of grave goods and restrictions on the size of the objects which could accompany the deceased, according to rank – the highest ranked officials were meant to have a maximum of 90 figurines, no more than 30cm tall while members of the Imperial family were allowed several hundred up to about one meter tall. However, these rules were frequently broken. The deceased’s relatives believed they could improve their ancestor’s status in the afterlife by providing mingqi in excess of necessity, thereby ensuring their own good fortune. Tang Dynasty figurative ceramics share particular characteristics. The forms are animated and life-like, the subject matter covers all aspects of social and ritual life and the scale of the figures was reasonably small with the exception of some magnificent larger works commissioned for the tombs of the elite. Figures of courtiers and entertainers, polo players and the exotic travelers who now regularly arrived in the Chinese cities with their great pack camels became common place, illustrating the cosmopolitan nature of the times. The variety of forms tells us that craftsmen had scope for individual innovation and were not controlled by rules regarding particular styles. Now the funerary wares spoke not only of power and military strength, but also of the sophistication and intellectual achievements of the deceased.

Sancai-Glazed Horse with Cut-Fur Blanket

Tang Dynasty (618-

29 1/2 x 33 x 12 in.

HERB ALPERT - Arrowhead - bronze - 201 x 48 x 48 in.

201 x 48 x 48 in.

Edition: 3 + 2 AP

JOHN CHAMBERLAIN - ASARABACA - industrial weight aluminum foil with acrylic lacquer and polyester resin - 20 x 23 x 22 in.

JOHN CHAMBERLAIN

20 x 23 x 22 in.

industrial weight aluminum foil with acrylic lacquer and polyester resin

<div><font face=Calibri size=3 color=black>Standing at an impressive 103 inches, this elegantly spare “Sonambient” sculpture by Harry Bertoia allows us to marvel at one of the finest artisans of his generation. This piece, the tallest in the series currently available here at Heather James Fine Art, features a precise arrangement of 36 slender tines in a 6 x 6 grid. This arrangement's uniformity and symmetry are visually captivating and crucial for the sculpture's acoustic properties. The rods, austere and uncapped by finials, have an aged patina with copper undertones, suggesting Bertoia's use of copper or a similar alloy known for its resonant qualities and distinctive coloration. Given the outstanding length of these rods, the attachment method is particularly noteworthy. Bertoia meticulously inserted each rod into individual holes in the base plate using precision drilling and securing techniques such as welding that ensured the rods were firmly anchored and stable, maintaining the structural integrity essential for consistent acoustic performance.</font></div>
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<br><div><font face=Calibri size=3 color=black>Beyond his uncompromising nature, Bertoia's work draws significant inspiration from natural elements. This sculpture's tall, slender rods evoke images of reeds or tall grasses swaying gently in the wind. This dynamic interaction between the sculpture and its environment mirrors the movement of plants, creating an immersive, naturalistic experience. Yet when activated or moved by air currents, the rods of this monumental work initiate metallic undertones that confirm its materiality without betraying its profound connection to the natural world.</font></div>
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<br><div><font face=Calibri size=3 color=black>Integrating technical precision and natural inspiration depends on exacting construction that ensures durability and acoustic consistency, while its kinetic and auditory nature imbues the piece with a sense of vitality. This fusion invites viewers to engage with the sculpture on multiple sensory levels, appreciating its robust craftsmanship and evocative, naturalistic qualities. Bertoia's ability to blend these elements results in a work that is both a technical marvel and a tribute to the beauty of the natural world.</font></div>

Untitled (Sounding Sculpture)

103 x 16 x 16 in.

Francisco Zúñiga created sculpture as a boy when he assisted his father, a local sculptor of wooden santos. He turned decisively to sculpture after he arrived in Mexico from his native Costa Rica in 1936 and developed a wide-ranging body of work based on the figure that spanned direct carving in wood, modeling in clay, sculpting directly on hard stone, and bronze casting. "Desnundo Reclinado de Dolores" is a departure in that it neither reflects his interest in pre-Columbian art nor his persistence in depicting indigenous-looking women with exaggerated hips and stomachs. Instead, it is a classically modeled tour de force performance of a hip-rotated, forearm-supported kneeling female that Rodin would have been proud to have claimed as his own.

FRANCISCO ZUNIGA

Desnudo reclinado de Dolores

21 x 43 1/4 x 21 1/2 in.

bronze with green patina

Edition: III/VI

After disappointing sales at Weyhe Gallery in 1928, Calder turned from sculpted wire portraits and figures to the more conventional medium of wood. On the advice of sculptor Chaim Gross, he purchased small blocks of wood from Monteath, a Brooklyn supplier of tropical woods. He spent much of that summer on a Peekskill, New York farm carving. In each case, the woodblock suggested how he might preserve its overall shape and character as he subsumed those attributes in a single form. There was a directness about working in wood that appealed to him. Carved from a single block of wood, Woman with Square Umbrella is not very different from the subjects of his wire sculptures except that he supplanted the ethereal nature of using wire with a more corporeal medium.
<br>© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

ALEXANDER CALDER

Woman with Square Umbrella

<div><font face=Calibri size=3 color=black>Donald Judd's role in defining the Minimalist movement is pivotal. He rejected traditional modes of representation, favoring the creation of objects that challenge viewers to find beauty in simplicity and the precision of industrial materials. Judd transformed the landscape of modern art with forms that are clean, unembellished, and elegant in their simplicity.<em> "Untitled"</em> exemplifies this minimalist approach, where form, material, and longevity are the primary focus.</font></div>
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<br><div><font face=Calibri size=3 color=black>In the context of Judd's oeuvre, the anodized aluminum surface of <em>"Untitled"</em> allows for a smooth, consistent finish that enhances the minimalist aesthetic by highlighting pure form and material, free from the distractions of imperfections or the need for additional surface treatments like paint. More significantly, an anodized surface is corrosion-resistant, underscoring that Judd is not merely creating art for the present moment but crafting pieces intended to endure indefinitely, preserving their pristine, minimalist aesthetic for posterity. Created in an edition of 12 and measuring 41.5 inches in length, with a depth and height of 6.25 inches, <em>"Untitled" </em>exemplifies this meticulous approach, showcasing the industrial aesthetic that Judd so effectively brought into the realm of fine art. Its clean, unembellished form emphasizes the importance of material and the geometric purity that Judd sought to achieve.</font></div>

5 7/8 x 41 3/8 x 5 7/8 in.

extruded anodized aluminum

JOAN MIRO - L'Oiseau - bronze and cinderblock - 23 7/8 x 20 x 16 1/8 in.

23 7/8 x 20 x 16 1/8 in.

bronze and cinderblock

Frank Stella's Bali series of sculptures is characterized by float and flow forms, extending into the viewer's space and inviting interaction between the object and its environment. The "dadap," a type of tree associated with growth and ritual significance in Balinese culture, mirrors Stella's sculptures' organic and dynamic nature. In shifting to stainless steel and aluminum from bamboo, Stella has preserved the essential nature of Balinese aesthetics that extol forms that are organic, fluid, and dynamically engage with their space. Dadap presents a continuity in Stella's thematic exploration where the spirit of his work transcends the materiality. Metal affords a different texture, reflectivity, and interaction with light and space, yet it adheres to the principles of movement and interactivity. It is a creative transference of form and concept across different mediums, retaining the spirit of the initial inspiration while allowing the new material's properties to express these ideas in a fresh context.

66 1/2 x 50 1/4 x 19 in.

stainless steel and aluminum

<div><font face=Aptos size=3 color=black>Jean Arp's shift from relief sculptures in his early Dada and Surrealist years to fully realized three-dimensional forms marked a significant evolution in his career. The biomorphic shapes that populated his earlier works in relief transformed into fully sculpted forms, and as shown with "<em>Figure sans nom</em>," reveal the sensitivity of an artist whose visual language of flowing shapes seems to shuttle between abstraction and representation without insisting on either one. As Arp recalled, "Suddenly, my need for interpretation vanished, and the body, the form, the supremely perfected work became everything to me." </font></div>
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<br><div><font face=Aptos size=3 color=black>Conceived in an edition of five in 1957 and cast in 1961, Jean Arp's elegant, polished bronze "<em>Figure sans nom”</em> showcases the artist's ability to meld the organic with the abstract, creating a work of timeless elegance. Curvaceous yet featuring sharply delineated transitions, it rests at that precise point of perception, suggesting to the viewer a state of metamorphic shapeshifting. Its biomorphic presence coupled with geometric segmentation is a duality that provides a thrilling flow of flawless, lyrical precision, qualities accentuated by its lustrous, highly polished golden-sheen surface. Arp's intentional decision to leave the figure nameless enhances its enigmatic quality, inviting viewers to engage with the work as a symbol of the inexplicable and infinite processes in nature and art.</font></div>

Figure sans nom

Manuel Neri was a central figure in the Bay Area Figurative Movement in the 1960s. Instead of abstract forms, the group emphasized emotion through the power of the human form. The present work, "Untitled" (1982), explores the female form on a life-sized scale. Neri preferred to work with just one model throughout his 60-year career, Maria Julia Klimenko. The absence of a face in many of the sculptures adds an element of mystery and ambiguity. The focus of the composition in "Untitled" is the structure and form of the figure. Manuel Neri is represented in numerous museum collections worldwide, including the Addison Gallery/Phillips Academy; Anderson Collection at Stanford University; Art Institute of Chicago; Cantor Arts Center, Stanford University; Cincinnati Art Museum; Crocker Art Museum, Sacramento, CA; Denver Art Museum, the El Paso Museum of Art, Texas; Fine Arts Museums of San Francisco; Harvard University Art Museums; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Honolulu Museum of Art, The Metropolitan Museum of Art, New York and the National Gallery of Art, Washington, DC.

67 x 24 x 26 in.

Deborah Butterfield holds a significant place within the pantheon of American sculptors, renowned for her pioneering spirit and mastery of diverse mediums. Crafted in formed-wielded steel, "Beacon" is a testament to her boldness and dedication to pushing artistic boundaries. Butterfield embraced the challenges of this demanding medium, and it is a fusion of innovation and tradition. With its modern aesthetic characterized by sweeping, elegant lines, this horse sculpture is a source of enchantment, inviting viewers into a realm where contemporary art converges with timeless beauty. Beacon honors the classic grace of the equine form and reaffirms Butterfield's position as a visionary within the landscape of modern sculpture.

DEBORAH BUTTERFIELD

45 1/2 x 54 x 13 1/2 in.

formed and welded steel

The daughter of minimalist sculptor Tony Smith, Kiki's art is not limited to any single medium or technique, and her work often invites multiple interpretations. Club embodies the form and dimensions of a human leg, the essential element for movement and stability. Smith's title invites the viewer to reimagine a leg as a weapon and consider the fragility of the human condition, the power dynamics of bodily autonomy, and the complex interplay between strength and vulnerability. Such a transformation of a body part into an object conveys both protection and aggression and reflects upon how gender-specific bodies navigate our social and personal environment. Club exemplifies Smith's ability to create pieces rich in symbolism, open to interpretation, and provoke thought about the human experience.

When a horse lies down, it is because it feels safe, which, for Deborah Butterfield, is a way of saying that it is okay to make ourselves vulnerable. "Echo", constructed in ways that respect her foraging skills and ability to weld metalwork, does not adhere to a traditional portrayal of a horse but instead reveals something of its essential nature. Constructed from pieced-together steel sheets, some rippled, others folded or crimped, it is a piece that bears the mark of time, aged to a rust-brown patina, imperfections celebrated rather than concealed. Butterfield's deliberate choice of materials and their treatment adds depth and character, transforming Untitled, Echo into more than just an equine representation — it reflects the rugged beauty and the resilience of the animal it represents.

DEBORAH BUTTERFIELD

26 x 107 x 76 in.

<div><font face=Calibri size=3 color=black>Harry Bertoia’s “Sonambient” sculptures are a mesmerizing blend of art, sound, and science, and this 36-tine piece is a quintessential example of his innovative genius. Meticulously crafted with 36 rods aligned in a precise six-by-six configuration on a square base, this 77-inch-tall work embodies the harmonious intersection of visual beauty and auditory wonder.</font></div>
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<br><div><font face=Calibri size=3 color=black>Made from beryllium copper, a material favored by Bertoia for its superior acoustic properties and aesthetic appeal, the rods have developed a rich walnut-like patina over time. This patina adds to the sculpture’s visual allure, enhancing its historical and artistic value, and reflects a natural aging process that the artist himself, a naturalist, would have admired. When activated by touch or the movement of air, the rods produce a perceptible, fixed note accompanied by a range of ethereal tones, transforming the sculpture from a static object into a dynamic, multisensory experience. The long, swaying motion of the tall rods, reminiscent of the undulating desert grasses that inspired the artist initially, adds a captivating visual dimension. The cattail-like finials further evoke natural forms, underscoring Bertoia’s inspiration derived from the natural world.</font></div>
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<br><div><font face=Calibri size=3 color=black>Bertoia’s 36-tine “Sonambient” sculpture is more than a visual masterpiece; it profoundly explores sound, material, and participatory interaction. It exemplifies Bertoia’s belief in art as an immersive and evolving experience, where each encounter offers discoveries and sensations. Through this work, Bertoia has created a timeless piece that continues to captivate and inspire, highlighting his artistic vision's enduring power and deep connection to nature’s spiritual qualities.</font></div>

Untitled (Sounding Sculpture)

77 x 11 x 11 in.

Manuel Neri's early paper mâché works broke ground in sculptural technique, and his approach to painting his sculptures reflects his deep engagement with the expressive potential of color and form. The choice and placement of colors in Hombre Colorado II create a particularly visceral response that reflects his nuanced understanding of the psychological and emotional dimension of color. Conceptualized and produced in 1958, Hombre Colorado II reflects a time when Neri and his wife Joan Brown were engaged in a rich artistic exchange of creativity and contributed significantly to the evolution of their respective styles and the Bay Area Figurative Movement, in which they played vital roles.

Hombre Colorado II

65 1/2 x 27 x 10 in.

Deborah Butterfield is an American sculptor, best known for her sculptures of horses made of objects ranging from wood, metal, and other found objects. The 1981 piece, Untitled (Horse), is comprised of sticks and paper on wire armature. The impressive scale of this piece creates a remarkable effect in person, presenting a striking example of Butterfield's celebrated subject matter. Butterfield originally created the horses from wood and other materials found on her property in Bozeman, Montana and saw the horses as a metaphorical self-portrait, mining the emotional resonance of these forms.

DEBORAH BUTTERFIELD

Untitled (Horse)

100 x 157 x 36 in.

sticks and paper on wire armature

HERB ALPERT - Vibrato - bronze - 93 x 14 in.

During the late 1990s, Manuel Neri began to transform numerous plaster sculptures into bronze, frequently returning to earlier works to produce newly imagined renditions of each piece. These series, nearly indistinguishable in shape and surface detail, explore the impact of varying color schemes and mark-making that involve various actions, including incising brushing, scraping, or layering materials. By experimenting with different marking techniques, Neri could explore the interplay between form, color, texture, and light. In the context of Standing Figure No. 3, Neri limited his palette to an analogous color scheme, thinning the paint to create subtle gradations that enhance the sculpture's sleek, refined exterior.

Untitled Standing Figure No. 3

66 3/4 x 19 x 13 1/2 in.

<div><font face=Calibri size=3 color=black>Harry Bertoia was an authentic visionary in art, and they are rare. Of those whose métier is sculpture, Alexander Calder and Harry Bertoia are the twentieth-century American standouts. They are engineers of beauty; their creative currency is feats of invention and pure artistry that honor our experience of them (if we are willing to quiet our mind) as if a sacred event. It was Duchamp who suggested Calder call his kinetic works “mobiles”, but it was up to Bertoia himself to coin a word to describe something for which there was little precedent. Visually precise, kinetic, and offering resonant, vibratory sound, a “Sonambient” sculpture is at once a metaphor for our sentient experience in the world yet capable of inducing an aura of transcendent experience. Given that insight, it is easy to understand Bertoia’s view that “I don’t hold onto terms like music and sculpture anymore. Those old distinctions have lost all their meaning.”</font></div>
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<br><div><font face=Calibri size=3 color=black>The present “Sonambient” sculpture is a forty-eight-inch-tall curtain of thin-gauged tines. Once activated, it becomes a 15 3/4 inch long, 8 inches deep wall of sound. Five rows of narrow tines are staggered in number, alternating between 30 and 29 tines that, when activated, present as an undulating wall of sound. When touched or moved by air currents, the rods produce a sound that, while metallic, does not betray its source of inspiration: the serene connection Bertoia felt in observing the gentle undulating movement of desert grasses. As always, this is a Bertoia sculpture that invites participation in the experience of changing shapes and sounds, a participatory work that asks us to be present in the moment, to connect across time with the object and its creator.</font></div>

Untitled (Sounding Sculpture)

48 x 15 3/4 x 8 in.

The Tang Dynasty (618-907 AD) was a prosperous cultural period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing; the three glaze-colors used were ochre or brown, green and clear. Glazed wares where much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons.
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<br>The Sancai-Glazed Earth Spirit offered here depicts a "Zhenmushou." These are mythical hybrid creatures whose bodies are a combination of dogs, lions, boars and other animals. These fierce looking beasts would be found in pairs guarding the entrance of Tang Dynasty tombs.

Sancai-Glazed Earth Spirit

Tang Dynasty (618-

47 1/4 x 14 x 14 in.

The Tang Dynasty (618-907 AD) was a prosperous period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing used the three glaze-colors were ochre or brown, green and clear. Glazed wares were much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons.
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<br>This Sancai-Glazed Horse would have been an incredible status symbol for its owner and many have been lost to time. This sculpture is comparable to examples held in museum collections worldwide, including the Metropolitan Museum of Art, New York.

Sancai-Glazed Horse

Tang Dynasty (618-

25 x 26 x 9 in.

CHINESE - Daoist Wooden Figure - lacquered and painted wood - 47 x 20 x 19 in.

Daoist Wooden Figure

14th-17th century

47 x 20 x 19 in.

lacquered and painted wood

MARC QUINN - Lovebomb - photo laminate on aluminum - 108 1/4 x 71 3/4 x 37 3/4 in.

108 1/4 x 71 3/4 x 37 3/4 in.

photo laminate on aluminum

<div><font size=3 color=black>Harry Bertoia's “Sonambient” sculptures are renowned for their meditative qualities, inviting viewers into a serene and contemplative state. Among the five “Sonambients” in our exhibition, even this most petite sculpture stands out with its remarkable sonic capabilities. This work, with its 64 tines, each capped with long, slender finials, produces a high-timbered sonority that is surprisingly robust. The delicate yet powerful sound offers an auditory experience that encourages reflection and heightened awareness.</font></div>
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<br><div><font size=3> </font></div>
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<br><div><font size=3 color=black>A pivotal aspect of the “Sonambient” sculptures' evolution was the involvement of Bertoia's brother, Oreste, whose expertise as a musician enabled him to help Harry reconceptualize these sculptures, not just as visual or kinetic art but as instruments capable of producing an immersive soundscape. This collaboration highlighted the interdisciplinary nature of Bertoia's work, merging the worlds of sculpture and music. Experimenting with rods and tines of different metals, varying in length and thickness, he discovered a wide range of tones and textural droning sounds. Exhilarated by their ethereal, otherworldly resonance and his brother's encouragement, Bertoia filled his historic barn in Bally, Pennsylvania, with more than sixty “Sonambient” sculptures. It became a kind of orchestral studio and laboratory where he recorded albums and held concerts, and the once lowly barn became a hallowed place—a chapel of sorts—where visitors experienced it as a pilgrimage and a place of profound inspiration and meditation.</font></div>

Untitled (Sounding Sculpture)

40 1/2 x 8 x 8 in.

<div><font face=Calibri size=3 color=black>Trace a line from Alexander Calder to the kinetic achievements of George Rickey, and it is clear both are engineers of beauty. Their creations are feats of invention and artistry that honor our experience of them. The present Rickey sculpture "Eight Lines II – Sketch for Twenty-Four Lines" exemplifies the artist's intentions to bridge the gap between engineering precision and artistic expression, offering a mesmerizing display of motion and balance. Measuring 57 inches by 54 inches by 54 inches, the arms of this sculpture move within spherical parameters deliberately yet unpredictably, responding to the slightest movement of air. This intricate dance of elements, driven by natural forces, transforms the sculpture into a dynamic interplay of mechanical precision and organic fluidity.</font></div>
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<br><div><font face=Calibri size=3 color=black>A generation removed from Calder, Rickey came of age during World War II and widespread devastation. Ironically, yet without apology, Rickey honed his skills in precision and complex mechanical systems due to his military experience as a design technician focusing on the maintenance and instruction of aircraft gun turrets. These skills, of course, would later serve him well in fashioning his kinetic sculptures. With that in mind, the precise engineering and organic movement inherent in a Rickey kinetic sculpture symbolizes a bridge between destruction and renewal and serves as a testament to the resilience and innovative spirit of the post-war ethos.</font></div>
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<br><div><font face=Calibri size=3 color=black>With its radiating arms extending in multiple directions, "Eight Lines II – Sketch for Twenty-Four Lines" captures the essence of Rickey's meticulous design and engineering prowess. A design full of complexities, each arm, crafted from sleek stainless steel, moves gracefully, reflecting light and creating an ever-changing visual experience. This attention to detail highlights Rickey's skill in making connections that allow fluid movement while maintaining structural integrity.</font></div>

Eight Lines II---Sketch for Twenty Four Lines

57 3/4 x 54 x 54 in.

stainless steel

The Liao Dynasty, also known as the Khitan Empire, was an empire in northern China that ruled over the regions of Manchuria, Mongolia, and parts of northern China proper. It was founded by the Yelü family of the Khitan people in the final years of the Tang Dynasty, even though its first ruler, Yelü Abaoji, did not declare an era name until 916. The Liao Empire was destroyed by the Jurchen of the Jin Dynasty in 1125. However, remnants of its people led by Yelu Dashi established the Xi (Western) Liao Dynasty 1125-1220, also known as Kara-Khitan Khanate, which survived until the arrival of Genghis Khan’s Mongolian cavalry.

Procession Ornament

Liao Dynasty, 907-

22 1/2 x 10 x 8 1/4 in.

SETH KAUFMAN - Lignum Spire - bronze with green patina - 103 1/2 x 22 x 17 in.

103 1/2 x 22 x 17 in.

bronze with green patina

KHMER - Male Torso - sandstone - 24 x 9 x 5 in.

The Tang Dynasty (618-907 AD) was a prosperous cultural period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing; the three glaze-colors used were ochre or brown, green and clear. Glazed wares where much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons.
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<br>The Sancai-Glazed Earth Spirit offered here depicts a "Zhenmushou." These are mythical hybrid creatures whose bodies are a combination of dogs, lions, boars and other animals. These fierce looking beasts would be found in pairs guarding the entrance of Tang Dynasty tombs.

Sancai-Glazed Earth Spirit

This well preserved bell is one of the largest known bronzes from the Southeast Asian Bronze Age, generally named after the Dongson site in North Vietnam. The swirling band design is finely and crisply cast. Dongson bronze drums were also reported in South China, Thailand, Laos, West Malaysia, and Indonesia and as Far East as Western Iranian Java.
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<br>The Dong Son culture is a Bronze age culture including all of southeast Asia and into the Indo-Malaya Archipelago from about 1000 to 1 BC. Centered on the Red River Valley of Vietnam, the Dong Son were sophisticated agriculturalists, raising rice and buffalo. Dong Son probably arose from local Neolithic cultures, such as Phung Nguyen and Dong Dau phases. Dong Son is identified with the Van Lang ruling dynasty, the first ruling dynasty of Vietnam. By the second century BC, impacts from the Han Dynasty in China were being felt and according to historic records, the Dong Son were absorbed into the Han Dynasty territory.

SOUTHEAST ASIAN

Dongson Culture (1

22 1/2 x 12 x 10 in.

Cylindrical offering posts, ai tos, are erected as offerings to distant ancestors. This post has two faces and represents the first ancestral pair. The people of Belu, also called Tetum, recognize three types of offering pole; ai tos, for distant progenitors, sometimes described as gods; foho, for intermediary beings; and lor, for the recently deported.
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<br>Many offerings are brought to the ai tos. When a carving is first finished, rice and a pig are sacrificed. Later, to inaugurate the post there are massive offerings from the village. At regular intervals the post is dressed in fine clothing, even an artificial beard, and food is brought to the ancestor, bei.

Offering Post- Aitos

43 1/2 x 11 x 12 in.

HERB ALPERT - Warrior - bronze - 35 x 12 x 12 in.

35 x 12 x 12 in.

Edition: 6 + 2 AP

This is a royal procession scene from a medieval, Indian temple. The central rider wears an embellished helmet, or crown, that is indicative of his royal status. He is accompanied on either side by two companions, both of whom turn to face him out of deference. On the frieze behind the riders, a throng of supporters watches the procession. The carver has conveyed a sense of depth both by placing the followers on a ledge behind the main figures and by making these secondary figures smaller in scale. While this technique lacks the sophistication of, for instance, classical Greco-Roman friezes, the artist still achieves a sense of depth and perspective while providing space in which to depict the horses and central figures in a voluminous manner. In addition, the carver reveals particular skill in the detail work on the horses’ saddles and harnesses and on the riders’ boots and armored leggings.

Procession with Horses

FELIPE CASTANEDA - Pensando - marble - 11 1/2 x 7 x 7 in.

FELIPE CASTANEDA

11 1/2 x 7 x 7 in.

AI WEIWEI - "Fairytale" Chairs - wood - 49 x 45 x 17 1/2 in.

"Fairytale" Chairs

49 x 45 x 17 1/2 in.

CHINESE - Sancai-Glazed Official - glazed pottery - Height: 34 in.

Sancai-Glazed Official

Tang Dyansty (618-

CHINESE - Camel - painted earthenware pottery - 11 x 22 x 10 in.

Tang Dynasty (618-

11 x 22 x 10 in.

painted earthenware pottery

Provenance:
<br>Heather James, CA
<br>Private collection, NV (acquired from above May, 2000)

Lingbi - One Hole Scholar's Rock

Late Qing Dynasty

41 1/4 x 14 x 13 in.

stone on wood base

NATIVE AMERICAN - Socorro Black-on-White Storage Jar - painted clay - 16 x 14 x 14 in.

NATIVE AMERICAN

Socorro Black-on-White Storage Jar

c. 1100-1250 AD

16 x 14 x 14 in.

The water buffalo symbolizes virility and suggests wealth and status for the Toraja. Water buffalo motifs appear commonly on houses and granaries suggesting the link between extensive landholding and the ability to build and lavishly decorate traditional Toraja village structures.
<br>
<br>South Sulawesi is home to the Toraja people, who live in a picturesque, mountainous region called Tana Toraja, or Toraja Land. At the center of Toraja culture is a fascinating and complex belief system surrounding death and the afterlife. Death is an elaborate affair, and the prolonged funerals are a major interest to visitors, who can attend the ceremonies but should show the same respect that they would for their own. The funerals typically involve feasting, buffalo sacrifice, dancing and martial arts, culminating with a procession that carries the coffin to its final resting place in one of the many caves on the surrounding cliffs, which are guarded by rock statues.
<br>
<br>The Torajas are equally famous for their houses, which are called Tongkonan, or Family Houses. The houses are built on stilts, and each end rises like the horns of a buffalo, with the points always facing north and south.

Shamans wear the Hudog mask to heal patients by restoring their wandering souls or to repel evil spirits. The masks would also be worn during agricultural ceremonies whose rites ensure the fecundity of the land and women.

wood and pigment with rare cloud leopard skin atop

INDONESIAN - Hudog Mask - wood - 25 x 22 x 9 in.

Early 20th Century

25 x 22 x 9 in.

DAVID MORRIS - Horn Plenty 2 - nickel plated polymer on a cast stone base - 18 1/2 x 9 1/4 x 11 in.

18 1/2 x 9 1/4 x 11 in.

nickel plated polymer on a cast stone base

DAVID MACH - Matchstick Head (large black long head with head gear) - matchstick - 12 1/2 x 6 1/2 x 6 in.

Matchstick Head (large black long head with head gear)

12 1/2 x 6 1/2 x 6 in.

Kulango statuary is rare, and often presented as derived from and strongly influenced by Lobi art. The figures, associated with the dead, are beings that are somewhere between spirits and people and may represent the dead, or ghost, or bush spirit. The figures preside over foundation rites, essential for obtaining protection for new homes. They were also used by soothsayers and by the leaders of the family cult.

17 x 2 1/2 x 3 in.

CHINESE - "Stick" Figure - painted pottery - Height: 24 1/2 in.

Han Dynasty (206 B

Height: 24 1/2 in.

painted pottery

CHINESE - "Stick" Figure - painted pottery - Height: 23 1/2 in.

Han Dynasty (206 B

Height: 23 1/2 in.

painted pottery

AFRICAN - Face Mask with Hair - wood, hair, pigments

Face Mask with Hair

wood, hair, pigments

ABOUT

Welcome to an extraordinary journey through time and culture, as presented in this curated online sculpture exhibition. Spanning centuries and continents, this collection celebrates the boundless creativity of artists and artisans. From Alexander Calder’s modernist explorations in kinetic forms, Al Weiwei’s contemporary provocations, and the organic elegance of Bertoia’s sound sculptures, each piece invites you to pause and reflect. Discover ancient treasures like a Tang Dynasty Sancai glazed horse, timeless Daoist figures, and African ceremonial masks. Renowned masters, including Camille Claudel, Robert Indiana, and John Chamberlain, bring their unique visions to life through diverse materials and styles. This collection blends the ancient with the modern, showcasing art’s enduring power to shape, inspire, and captivate. Whether you’re a seasoned art lover or a curious explorer, we invite you to discover the stories sculpted into each work.

“British Prime Minister Winston Churchill speaks with President Franklin D. Roosevelt after their arrival to attend the Yalta Conference”, National Archives, Collection HST-PHC: Photograph Collection, NAID 350297201

“British Prime Minister Winston Churchill speaks with President Franklin D. Roosevelt after their arrival to attend the Yalta Conference”, National Archives, Collection HST-PHC: Photograph Collection, NAID 350297201

“Sir Winston Leonard Spencer Churchill, 1874-1965”, Library of Congress, Prints

“Sir Winston Leonard Spencer Churchill, 1874-1965”, Library of Congress, Prints & Photographs Division, LC-USZ62-49656

“Winston Churchill”, National Archives, NAID 213259596

“Winston Churchill”, National Archives, NAID 213259596

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ARTISTS

AFRICAN - Face Mask with Hair - wood, hair, pigments

AI WEIWEI - "Fairytale" Chairs - wood - 49 x 45 x 17 1/2 in.

HERB ALPERT - Arrowhead - bronze - 201 x 48 x 48 in.

<div><font face=Aptos size=3 color=black>Jean Arp's shift from relief sculptures in his early Dada and Surrealist years to fully realized three-dimensional forms marked a significant evolution in his career. The biomorphic shapes that populated his earlier works in relief transformed into fully sculpted forms, and as shown with "<em>Figure sans nom</em>," reveal the sensitivity of an artist whose visual language of flowing shapes seems to shuttle between abstraction and representation without insisting on either one. As Arp recalled, "Suddenly, my need for interpretation vanished, and the body, the form, the supremely perfected work became everything to me." </font></div>
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<br><div> </div>
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<br><div><font face=Aptos size=3 color=black>Conceived in an edition of five in 1957 and cast in 1961, Jean Arp's elegant, polished bronze "<em>Figure sans nom”</em> showcases the artist's ability to meld the organic with the abstract, creating a work of timeless elegance. Curvaceous yet featuring sharply delineated transitions, it rests at that precise point of perception, suggesting to the viewer a state of metamorphic shapeshifting. Its biomorphic presence coupled with geometric segmentation is a duality that provides a thrilling flow of flawless, lyrical precision, qualities accentuated by its lustrous, highly polished golden-sheen surface. Arp's intentional decision to leave the figure nameless enhances its enigmatic quality, inviting viewers to engage with the work as a symbol of the inexplicable and infinite processes in nature and art.</font></div>

<div><font face=Calibri size=3 color=black>Harry Bertoia’s “Sonambient” sculptures are a mesmerizing blend of art, sound, and science, and this 36-tine piece is a quintessential example of his innovative genius. Meticulously crafted with 36 rods aligned in a precise six-by-six configuration on a square base, this 77-inch-tall work embodies the harmonious intersection of visual beauty and auditory wonder.</font></div>
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<br><div> </div>
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<br><div><font face=Calibri size=3 color=black>Made from beryllium copper, a material favored by Bertoia for its superior acoustic properties and aesthetic appeal, the rods have developed a rich walnut-like patina over time. This patina adds to the sculpture’s visual allure, enhancing its historical and artistic value, and reflects a natural aging process that the artist himself, a naturalist, would have admired. When activated by touch or the movement of air, the rods produce a perceptible, fixed note accompanied by a range of ethereal tones, transforming the sculpture from a static object into a dynamic, multisensory experience. The long, swaying motion of the tall rods, reminiscent of the undulating desert grasses that inspired the artist initially, adds a captivating visual dimension. The cattail-like finials further evoke natural forms, underscoring Bertoia’s inspiration derived from the natural world.</font></div>
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<br><div> </div>
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<br><div><font face=Calibri size=3 color=black>Bertoia’s 36-tine “Sonambient” sculpture is more than a visual masterpiece; it profoundly explores sound, material, and participatory interaction. It exemplifies Bertoia’s belief in art as an immersive and evolving experience, where each encounter offers discoveries and sensations. Through this work, Bertoia has created a timeless piece that continues to captivate and inspire, highlighting his artistic vision's enduring power and deep connection to nature’s spiritual qualities.</font></div>

Deborah Butterfield holds a significant place within the pantheon of American sculptors, renowned for her pioneering spirit and mastery of diverse mediums. Crafted in formed-wielded steel, "Beacon" is a testament to her boldness and dedication to pushing artistic boundaries. Butterfield embraced the challenges of this demanding medium, and it is a fusion of innovation and tradition. With its modern aesthetic characterized by sweeping, elegant lines, this horse sculpture is a source of enchantment, inviting viewers into a realm where contemporary art converges with timeless beauty. Beacon honors the classic grace of the equine form and reaffirms Butterfield's position as a visionary within the landscape of modern sculpture.

deborah butterfield

© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

alexander calder

FELIPE CASTANEDA - Mujer en Reposo - bronze - 14 x 9 x 15 3/4 in.

FELIPE CASTANEDA

JOHN CHAMBERLAIN - ASARABACA - industrial weight aluminum foil with acrylic lacquer and polyester resin - 20 x 23 x 22 in.

john chamberlain

CHINESE - "Stick" Figure - painted pottery - Height: 24 1/2 in.

<div><font face=Calibri size=3 color=black>Camille Claudel's life story reflects an era when societal constraints often dimmed the brilliance of women; their genius was viewed as a threat to the male-dominated world. Most introductions to Claudel are steeped in misleading biographical details related to her as Rodin's assistant, mistress, or lover, associations that diminish her achievements as a first-rate sculptor whose work borrows little from Rodin in style or subject matter. Despite these challenges, Claudel's legacy has endured, celebrated through exhibitions, biographies, and films since her rediscovery in 1982. </font></div>
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<br><div> </div>
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<br><div><font face=Calibri size=3 color=black><em>“La Vague (The Wave),”</em> a remarkable sculpture of three women frolicking joyfully, embodies Claudel's passion for art and connection to nature. The women, their hair unruly like the sea, are depicted in a moment of freedom and abandon, yet the looming wave hints at the inevitable sorrow to come—a metaphor for Claudel's life, shadowed by fate. This piece, initially shown in plaster and later cast in bronze with an onyx marble wave, draws direct inspiration from Hokusai's <em>“The Great Wave,”</em> reflecting the Parisian fascination with Japanese art at the time. While <em>“La Vague”</em> showcases Claudel's technical mastery and the influence of Japanese aesthetics, it also poignantly symbolizes her acceptance of the overpowering forces of nature and the tragic course her life would ultimately take. This bronze, cast in 1997, is one of only two not held in a museum, further emphasizing the rarity of and reverence for Claudel's work.</font></div>

camille claudel

A major figure in both the Abstract Expressionist and American Figurative Expressionist movements of the 1940s and 1950s, Elaine de Kooning's prolific output defied singular categorization. Her versatile styles explored the spectrum of realism to abstraction, resulting in a career characterized by intense expression and artistic boundary-pushing. A striking example of de Kooning's explosive creativity is Untitled (Totem Pole), an extremely rare sculptural painting by the artist that showcases her command of color.
<br>
<br>She created this piece around 1960, the same period as her well-known bullfight paintings. She left New York in 1957 to begin teaching at the University of New Mexico in Albuquerque, and from there would visit Ciudad Juárez, where she observed the bullfights that inspired her work. An avid traveler, de Kooning drew inspiration from various sources, resulting in a diverse and experimental body of work.

elaine de kooning

This is a royal procession scene from a medieval, Indian temple. The central rider wears an embellished helmet, or crown, that is indicative of his royal status. He is accompanied on either side by two companions, both of whom turn to face him out of deference. On the frieze behind the riders, a throng of supporters watches the procession. The carver has conveyed a sense of depth both by placing the followers on a ledge behind the main figures and by making these secondary figures smaller in scale. While this technique lacks the sophistication of, for instance, classical Greco-Roman friezes, the artist still achieves a sense of depth and perspective while providing space in which to depict the horses and central figures in a voluminous manner. In addition, the carver reveals particular skill in the detail work on the horses’ saddles and harnesses and on the riders’ boots and armored leggings.

The water buffalo symbolizes virility and suggests wealth and status for the Toraja. Water buffalo motifs appear commonly on houses and granaries suggesting the link between extensive landholding and the ability to build and lavishly decorate traditional Toraja village structures.
<br>
<br>South Sulawesi is home to the Toraja people, who live in a picturesque, mountainous region called Tana Toraja, or Toraja Land. At the center of Toraja culture is a fascinating and complex belief system surrounding death and the afterlife. Death is an elaborate affair, and the prolonged funerals are a major interest to visitors, who can attend the ceremonies but should show the same respect that they would for their own. The funerals typically involve feasting, buffalo sacrifice, dancing and martial arts, culminating with a procession that carries the coffin to its final resting place in one of the many caves on the surrounding cliffs, which are guarded by rock statues.
<br>
<br>The Torajas are equally famous for their houses, which are called Tongkonan, or Family Houses. The houses are built on stilts, and each end rises like the horns of a buffalo, with the points always facing north and south.

<div><font face=Calibri size=3 color=black>Donald Judd's role in defining the Minimalist movement is pivotal. He rejected traditional modes of representation, favoring the creation of objects that challenge viewers to find beauty in simplicity and the precision of industrial materials. Judd transformed the landscape of modern art with forms that are clean, unembellished, and elegant in their simplicity.<em> "Untitled"</em> exemplifies this minimalist approach, where form, material, and longevity are the primary focus.</font></div>
<br>
<br><div> </div>
<br>
<br><div><font face=Calibri size=3 color=black>In the context of Judd's oeuvre, the anodized aluminum surface of <em>"Untitled"</em> allows for a smooth, consistent finish that enhances the minimalist aesthetic by highlighting pure form and material, free from the distractions of imperfections or the need for additional surface treatments like paint. More significantly, an anodized surface is corrosion-resistant, underscoring that Judd is not merely creating art for the present moment but crafting pieces intended to endure indefinitely, preserving their pristine, minimalist aesthetic for posterity. Created in an edition of 12 and measuring 41.5 inches in length, with a depth and height of 6.25 inches, <em>"Untitled" </em>exemplifies this meticulous approach, showcasing the industrial aesthetic that Judd so effectively brought into the realm of fine art. Its clean, unembellished form emphasizes the importance of material and the geometric purity that Judd sought to achieve.</font></div>

SETH KAUFMAN - Lignum Spire - bronze with green patina - 103 1/2 x 22 x 17 in.

KHMER - Male Torso - sandstone - 24 x 9 x 5 in.

DAVID MACH - Matchstick Head (large black long head with head gear) - matchstick - 12 1/2 x 6 1/2 x 6 in.

DAVID MACH

JOAN MIRO - L'Oiseau - bronze and cinderblock - 23 7/8 x 20 x 16 1/8 in.

DAVID MORRIS - Horn Plenty 2 - nickel plated polymer on a cast stone base - 18 1/2 x 9 1/4 x 11 in.

DAVID MORRIS

NATIVE AMERICAN - Socorro Black-on-White Storage Jar - painted clay - 16 x 14 x 14 in.

native american

Manuel Neri's early paper mâché works broke ground in sculptural technique, and his approach to painting his sculptures reflects his deep engagement with the expressive potential of color and form. The choice and placement of colors in Hombre Colorado II create a particularly visceral response that reflects his nuanced understanding of the psychological and emotional dimension of color. Conceptualized and produced in 1958, Hombre Colorado II reflects a time when Neri and his wife Joan Brown were engaged in a rich artistic exchange of creativity and contributed significantly to the evolution of their respective styles and the Bay Area Figurative Movement, in which they played vital roles.

MARC QUINN - Lovebomb - photo laminate on aluminum - 108 1/4 x 71 3/4 x 37 3/4 in.

<div><font face=Calibri size=3 color=black>Trace a line from Alexander Calder to the kinetic achievements of George Rickey, and it is clear both are engineers of beauty. Their creations are feats of invention and artistry that honor our experience of them. The present Rickey sculpture "Eight Lines II – Sketch for Twenty-Four Lines" exemplifies the artist's intentions to bridge the gap between engineering precision and artistic expression, offering a mesmerizing display of motion and balance. Measuring 57 inches by 54 inches by 54 inches, the arms of this sculpture move within spherical parameters deliberately yet unpredictably, responding to the slightest movement of air. This intricate dance of elements, driven by natural forces, transforms the sculpture into a dynamic interplay of mechanical precision and organic fluidity.</font></div>
<br>
<br><div> </div>
<br>
<br><div><font face=Calibri size=3 color=black>A generation removed from Calder, Rickey came of age during World War II and widespread devastation. Ironically, yet without apology, Rickey honed his skills in precision and complex mechanical systems due to his military experience as a design technician focusing on the maintenance and instruction of aircraft gun turrets. These skills, of course, would later serve him well in fashioning his kinetic sculptures. With that in mind, the precise engineering and organic movement inherent in a Rickey kinetic sculpture symbolizes a bridge between destruction and renewal and serves as a testament to the resilience and innovative spirit of the post-war ethos.</font></div>
<br>
<br><div> </div>
<br>
<br><div><font face=Calibri size=3 color=black>With its radiating arms extending in multiple directions, "Eight Lines II – Sketch for Twenty-Four Lines" captures the essence of Rickey's meticulous design and engineering prowess. A design full of complexities, each arm, crafted from sleek stainless steel, moves gracefully, reflecting light and creating an ever-changing visual experience. This attention to detail highlights Rickey's skill in making connections that allow fluid movement while maintaining structural integrity.</font></div>

The daughter of minimalist sculptor Tony Smith, Kiki's art is not limited to any single medium or technique, and her work often invites multiple interpretations. Club embodies the form and dimensions of a human leg, the essential element for movement and stability. Smith's title invites the viewer to reimagine a leg as a weapon and consider the fragility of the human condition, the power dynamics of bodily autonomy, and the complex interplay between strength and vulnerability. Such a transformation of a body part into an object conveys both protection and aggression and reflects upon how gender-specific bodies navigate our social and personal environment. Club exemplifies Smith's ability to create pieces rich in symbolism, open to interpretation, and provoke thought about the human experience.

This well preserved bell is one of the largest known bronzes from the Southeast Asian Bronze Age, generally named after the Dongson site in North Vietnam. The swirling band design is finely and crisply cast. Dongson bronze drums were also reported in South China, Thailand, Laos, West Malaysia, and Indonesia and as Far East as Western Iranian Java.
<br>
<br>The Dong Son culture is a Bronze age culture including all of southeast Asia and into the Indo-Malaya Archipelago from about 1000 to 1 BC. Centered on the Red River Valley of Vietnam, the Dong Son were sophisticated agriculturalists, raising rice and buffalo. Dong Son probably arose from local Neolithic cultures, such as Phung Nguyen and Dong Dau phases. Dong Son is identified with the Van Lang ruling dynasty, the first ruling dynasty of Vietnam. By the second century BC, impacts from the Han Dynasty in China were being felt and according to historic records, the Dong Son were absorbed into the Han Dynasty territory.

southeast asian

Frank Stella's Bali series of sculptures is characterized by float and flow forms, extending into the viewer's space and inviting interaction between the object and its environment. The "dadap," a type of tree associated with growth and ritual significance in Balinese culture, mirrors Stella's sculptures' organic and dynamic nature. In shifting to stainless steel and aluminum from bamboo, Stella has preserved the essential nature of Balinese aesthetics that extol forms that are organic, fluid, and dynamically engage with their space. Dadap presents a continuity in Stella's thematic exploration where the spirit of his work transcends the materiality. Metal affords a different texture, reflectivity, and interaction with light and space, yet it adheres to the principles of movement and interactivity. It is a creative transference of form and concept across different mediums, retaining the spirit of the initial inspiration while allowing the new material's properties to express these ideas in a fresh context.

Francisco Zúñiga created sculpture as a boy when he assisted his father, a local sculptor of wooden santos. He turned decisively to sculpture after he arrived in Mexico from his native Costa Rica in 1936 and developed a wide-ranging body of work based on the figure that spanned direct carving in wood, modeling in clay, sculpting directly on hard stone, and bronze casting. "Desnundo Reclinado de Dolores" is a departure in that it neither reflects his interest in pre-Columbian art nor his persistence in depicting indigenous-looking women with exaggerated hips and stomachs. Instead, it is a classically modeled tour de force performance of a hip-rotated, forearm-supported kneeling female that Rodin would have been proud to have claimed as his own.

francisco zuniga

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