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Farnsworth Art Museum announces gift of art: Louise Nevelson s Atmosphere and Environment II

Hand-painted hearts or Captain Tom in bronze? Memorialising the fallen of Covid-19

As heroic statues fall out of vogue, communities have turned to experimental structures – from flourishing gardens to abstract sculptures – as monuments to loss on a vast scale

Romanian politician gears up to sue Brancusi s heir over longstanding copyright battle

Romanian politician gears up to sue Brancusi s heir over longstanding copyright battle
theartnewspaper.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from theartnewspaper.com Daily Mail and Mail on Sunday newspapers.

Monolith mania comes to Chelsea

Monolith mania comes to Chelsea Michael Manfredi takes a photo of ‘‘Ptolemy’s Wedge II’’ by Beverly Pepper at the exhibition “Between the Earth and Sky at the Kasmin Gallery, New York, Jan. 23, 2021. The handsome and inordinately timely group show brings together 22 works, some recent, some quite old, all of them billed as “monolithic sculptures.” Nina Westervelt/The New York Times. by Deborah Solomon (NYT NEWS SERVICE) .- I don’t blame you if you never want to hear the word monolith again. It was certainly one of the most misused terms of 2020. It officially means “one stone” (mono for one and lith for stone or carving, from the Greek word lithos) and was pressed into overtime last fall when social media was inundated by reports of “mystery monoliths.”

How Antony Gormley s failed Buddhist monkhood turned him into the world s best sculptor

How Antony Gormley s failed Buddhist monkhood turned him into the world s best sculptor The man behind the Angel of the North has a highly unusual CV Antony Gormley Credit: Getty “Look!” said Antony Gormley, “The splicing of the figures is genius! The female figure begins to look as if she belongs to the air, you begin to think maybe he’s just caught her as she was flying past!” We were in the middle of Florence on a bright spring afternoon, looking at The Rape of the Sabine Women, an amazingly complex, convoluted 16th-century marble carving by Giambologna. It stands in the Loggia dei Lanzi, to one side of the Piazza della Signoria, in a place that any visitor to the city will pass. I’d walked by this masterpiece many times, and glanced at it quite often, but I’d never seen it as I was then: through the eyes of a sculptor. That was the point of the exercise.

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