Archive: sculpture
Is this life-size deflated tank entirely made of Italian leather?

Is this life-size deflated tank entirely made of Italian leather?

He Xiangyu - Tank
He XiangyuTank Project, 2011-2013, installation view, leather, 890 x 600 x 150 cm

He Xiangyu’s Tank project commenced in late 2011 and was completed in early 2013. The sculpture is a prototype of the tank, specifically a T34, based on one that was found near a regimen positioned between North Korea and China. The T34 model was used as China’s armed forces principal tank, and furthermore was the same model that was used during specific infamous incidents in China’s recent history.

He Xiangyu had taken his own risks to complete this piece as he had to coordinate a team to sneak into the army base during the night to measure parts of the tank by hand as large-scale measuring tools were unavailable. Determining the measurements took four months. The plans based off of these dimensions were detailed and painstakingly thorough, so thorough that Xiangyu could reproduce an actual tank.

The artist used high grade vegetable tanned leather as his main material for his tank, creating the “outer-coat” by using the dimensions and proportions from the measurements scaled with a very insignificant magnification. Xiangyu together with 35 workers, completed the Tank Project in about two years, using over 250 full-scale leather hides and 50,000 meters of wax string. The finished piece weighs over 4000 pounds. Xiangyu ‘s Tank Project also includes the relating diagrams, and video.

About He Xiangyu

He Xiangyu, was born 1986 in Kuandian, China. In 2008, Xiangyu graduated from Shenyang Normal University with a bachelor’s degree in art, where he studied oil painting. His work has been featured in a number of group exhibitions around the world. He Xiangyu’s works have been in collections such as: Kunstmuseum Bern, Bern, Switzerland; White Rabbit Gallery, Sydney, Australia; Domus Collection, USA; Pinault Collection, France; Long Museum, Shanghai, China; Boros Collection, Berlin, Germany; Mercator Foundation, Essen, Germany; Artron Art Museum, Shenzhen, China; Sishang Museum, Beijing, China.

He Xiangyu - Tank
He XiangyuTank Project, 2011-2013, installation view (detail), leather, 890 x 600 x 150 cm

He Xiangyu - Tank
He XiangyuTank Project, 2011-2013, installation view, leather, 890 x 600 x 150 cm

He Xiangyu - Tank
He XiangyuTank Project, 2011-2013, installation view, leather, 890 x 600 x 150 cm

He Xiangyu - Tank
He XiangyuTank Project, 2011-2013, installation view (detail), leather, 890 x 600 x 150 cm


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Chinese artist puts 14m long minibus in MoMA and other museums

Chinese artist puts 14m long minibus in MoMA and other museums

Yin Xiuzhen - Collective Subconscious

Yin XiuzhenCollective Subconscious, 2007, Minibus, stainless steel, used clothes, stools, music
1420 x 140 x 190 cm

Collective Subconscious is a large-scale installation sculpture presented by Projects 92. It is an interactive installation created by Beijing based artist Yin Xiuzhen, who has spent the last twenty five years creating and displaying works that reflect her surrounding environment and her relationship with it. Her works are at once personal and environmentally engaging, and are typically site-specific. Collective Subconscious, which is composed of a bisected minivan connected by a long tube covered in a quilt made of found garments, allows viewers to enter and have a seat on a small bench, and listen to the Chinese pop song “Beijing, Beijing” emitting from the read-end speakers. It is ethereal and a place for contemplation, meant to break the silence traditionally present within the gallery space.

About Yin Xiuzhen

A leading figure in contemporary Chinese art, Yin Xiuzhen has worked primarily in site-specific installation and sculpture since the early 1990s. Her work addresses issues on both an environmental scale and a personal one, and often employs quotidian materials, including found textiles. Projects 92 presents her large-scale sculpture Collective Subconscious, which is composed of a bisected minivan connected by a long tube covered in a quilt made of found garments. The public is welcomed inside this transformed conveyance, where they will find a cozy refuge complete with low stools and soft pop music—a space that invites visitors to break the silence of the hushed gallery, reinventing it as a place for conversation and discussion.

Collective Subconscious has been shown at Centre Pompidou, Kunsthalle Düsseldorf, NYC MoMA and other spaces.

Yin Xiuzhen - Collective Subconscious
Yin XiuzhenCollective Subconscious, 2007, Minibus, stainless steel, used clothes, stools, music
1420 x 140 x 190 cm

Yin Xiuzhen - Collective Subconscious
Yin XiuzhenCollective Subconscious, 2007, Minibus, stainless steel, used clothes, stools, music
1420 x 140 x 190 cm

Yin Xiuzhen - Collective-Subconscious, Kunsthalle Düsseldorf
Yin XiuzhenCollective Subconscious, 2007, Minibus, stainless steel, used clothes, stools, music
1420 x 140 x 190 cm


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22m tall sculpture built for $265k burns to ashes

22m tall sculpture built for $265k burns to ashes

The Pier Group - Embrace, 2014
The Pier GroupEmbrace, 2014

Embrace by The Pier Group, a collective of artists, engineers, and builders, came together and spent a budget of $265,000 in order to create the 72-foot (22 meter) sculpture of two figures embracing, whose fleeting life would end up in flames at the Burning Man festival.

The enormous sculpture had previously supported internal staircases that allowed visitors to climb up to the heads. In their chests each figure held massive chandeliers in the shape of human hearts. As people would climb up the spiral staircase, they would work their way up through the neck leading to the head. As the journey becomes increasingly tighter and claustrophobic there is a cathartic release into the mind. As groups of people would come together, gathering in each head of the sculpture where they would look through the eyes upon the other head they would be in a place of unique contemplation. Each head contained a mandala, one mandala was dedicated to the act of birth and creation, the other was dedicated to logic and reason.

Embrace serves as a testament to the moment, a representation of temporality, as the massive statue is the epitome of the beauty of immediacy. This massive sculpture was dedicated to and honors each and every relationship in all of our lives, and like the Burning Man itself, the sculpture is representing an internal pilgrimage.

Embrace also represents the moment that is the now, as individuals approach the sculpture, a couple towering high above the desert rises, as if it is a piece of the landscape that belongs there and always has. The embrace itself is a reminder to the audience of loved ones, those who are still there, those who have been lost; lovers, family, friends…

The temporality becomes apparent as the 70 foot sculpture was set to flames, disappearing in a cloud of smoke, and becoming part of the landscape as ash.

The Pier Group - Embrace, 2014
The Pier GroupEmbrace, 2014

The Pier Group - Embrace, 2014
The Pier GroupEmbrace, 2014

The Pier Group - Embrace, 2014
The Pier GroupEmbrace, 2014

The Pier Group - Embrace, 2014
The Pier GroupEmbrace, 2014

The Pier Group - Embrace, 2014
The Pier GroupEmbrace, 2014

The Pier Group - Embrace, 2014
The Pier GroupEmbrace, 2014

The Pier Group - Embrace, 2014
The Pier GroupEmbrace, 2014

The Pier Group - Embrace, 2014
The Pier GroupEmbrace, 2014

The Pier Group - Embrace, 2014
The Pier GroupEmbrace, 2014

The Pier Group - Embrace, 2014
The Pier GroupEmbrace, 2014

The Pier Group - Embrace, 2014
The Pier GroupEmbrace, 2014

video

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Large-scale miniature of ancient Japanese temple

Large-scale miniature of ancient Japanese temple

Takahiro Iwasaki - Reflection Model (Perfect Bliss)
Takahiro IwasakiReflection Model (Perfect Bliss), 2010-2012, 150 x 280 x 194cm, Japanese cypress, wire

Japanese artist Takahiro Iwasaki’s sculpture the Reflection Model (Perfect Bliss) is a sophisticated miniature recreation of Phoenix Hall, which is part of Japan’s Byodo-in Temple complex. Embodying many elements of tradition and modernity, as the piece imitates the reflection of the traditional mirror pond as a physical object, suspended from the ceiling, performing to the audience as a three-dimensional mirrored image hovering magically in the air.

The juxtapositions within this piece are appropriate in considering Iwasaki’s artwork’s relationship to Orientalism and Japanese modernity. This work reflects upon the ways in which architecture has been influential in the development of conceptions of Japanese national identity, along with the opposed concept of Westernization in Japanese culture. Iwasaki’s use of ‘construction’ is both corresponding and fundamental, inferring the function of architecture in forming social values and perceptions of collective identity.

The miniatures are fashioned with inverted imagery bringing the sculpture to life through the illusion of water and reflection. Iwasaki’s work involves the combination of realism and dreamlike ingenuity to create the feeling of awe as the weightlessness of the floating building can bring to mind sentiments of exposure and delicacy with a contrasting feeling of sustenance and strength.

As you stand peering at the piece eye level, or sit below the flying building looking up as it seemingly grows before your eyes, you are immersed in the cultural identify of Japan that includes reverence for the past and tradition while simultaneously embracing modernity and futurism. The beauty and the intertextual meaning is paramount. It demonstrates the ways in which national identity is not static but a progression of complex and continuing negotiations between fluctuating domestic and international circumstances.

Takahiro Iwasaki - Reflection Model (Perfect Bliss)

Takahiro Iwasaki - Reflection Model (Perfect Bliss)


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Is this bus falling off a roof of a five star hotel in Hong Kong?

Is this bus falling off a roof of a five star hotel in Hong Kong?

Richard Wilson - Hang On A Minute Lads... Ive Got A Great Idea - Peninsula Hotel, Hong Kong, 2015 - Day time - 1
Richard WilsonHang On A Minute Lads… Ive Got A Great Idea, full-sized 11 meters replica coach, 2015, Peninsula Hotel, Hong Kong

The sculptural installation by Richard Wilson titled Hang On A Minute Lads, I’ve Got a Great Idea showcases a full-sized replica of a old-fashioned twin-axel Harrington Legionnaire coach that looks as if it is teetering precariously on the edge threatening to fall off The Peninsula’s seventh-floor.

The sculpture was inspired by classic 1969 British heist movie ‘The Italian Job’. The dynamic sculpture weighs six tons at its core, and uses hydraulic equipment that is makes the coach rock by up to 12 degrees at random periods, making it seem that the coach could very well plunge of the ledge to the ground at any moment from. The installation draws onlookers’ attention to the hotel’s distinctive architecture, serving to highlight and accent the building in different and unanticipated ways.

Seeing the piece causes onlookers a surge of adrenaline- and rightfully so, seeing such a large vehicle perched “insecurely” (no fear, it is secure) and seemingly unsteadily should bring everyone a hint of that natural fight or flight reaction. Once the shock associated with the spectacle subsides you can embrace the creativity, the unique building designer, and the contrast between the coach and the hotel in what is undoubtedly awe.

This project was a collaboration between Richard Wilson, The Royal Academy and the Peninsula Hotel, Hong Kong. The Peninsula Hong Kong is a historic and well-known hotel. The Royal Academy is an artist-led organization, with an emphasized focus on presenting British artists and architects abroad.

About Richard Wilson

Richard Wilson, born 1953, is one of Britain’s most renowned sculptors. He is internationally celebrated for his interventions in architectural space, which draw heavily for their inspiration from the worlds of engineering and construction.

Richard Wilson - Hang On A Minute Lads... Ive Got A Great Idea - Peninsula Hotel, Hong Kong, 2015 - Night time
Richard WilsonHang On A Minute Lads… Ive Got A Great Idea, full-sized 11 meters replica coach, 2015, Peninsula Hotel, Hong Kong

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This controversial sculpture of Michael Jackson shows him fragile and feminine

This controversial sculpture of Michael Jackson shows him fragile and feminine

Jeff Koons - Michael Jackson and Bubbles, 1988 -ceramic, 106.7 x 179.1 x 82.5cm.jpg

Jeff KoonsMichael Jackson and Bubbles, 1988
Ceramic, 106.7 x 179.1 x 82.5 cm

There have been many stars and singers that have contributed to music in many progressive ways. Yet no one comes close to the influence that the iconic Michael Jackson has left on the music industry. Imagery of him is fairly well known. The pop-culture icon has been seen in various stages of his life and career, physically ever-changing in front of our eyes. Jeff Koons created a famous life-sized porcelain sculpture depicting the now late and legendary Michael Jackson leaning back on a flower bed while on his lap rests his pet chimpanzee Bubbles who holds a white cloth. Jackson and Bubbles wear similar clothing, and are colored similarly while parts of their bodies mirror with each other.
Bubbles, the real life chimpanzee, was purchased by Jackson from a Texas research facility in 1985. He was a very important figure in the eyes of Michael and became a constant sight at almost all of Michael Jackson’s performances and concert arenas and cities. Koons used a press photo of Jackson and Bubbles for his sculpture, and it is nearly indistinguishable to the photo.

When the porcelain sculpture was first revealed, Koons produced three editions, many of Jackson’s fans were offended by how the porcelain made Jackson appear white and feminine (although there doesn’t seem to be any complaints about his hair being gold…). Koons however, really doesn’t care about the complaints and criticism over Jackson’s gender neutral appearance within this piece. The art, he believes, transcends gender- as Koons explains, Jackson is the contemporary Apollo.

In this piece Jackson is that of a Greek god, beautiful and golden- considering that this was created in 1988 it is ironic considering the way that M.J has been immortalized as pop royalty, who may have passed physically, but has transcended in space and time through his music and dance. Bubbles looks wise and all-knowing as he sits on M.J’s lap and gazes at the audience while Jackson gazes lovingly at his companion.

This piece now is a beautiful representation of Jackson’s younger days before he was othered by some and deified by others. The gold almost depicts a time when anything MJ touched turned to gold.

In total three editions of Michael Jackson and Bubbles came into existence, all three can be found separately at the new Eli and Edythe Broad Art Museum, in the San Francisco Museum of Modern Art and another one in Athens.

Jeff Koons - Michael Jackson and Bubbles, 1988, Fondation Beyeler, Riehen, Switzerland, Jeff Koons - Michael Jackson and Bubbles, 1988, Fondation Beyeler, Riehen, Switzerland. 2012
Jeff Koons next to his artwork Michael Jackson and Bubbles, 1988
Ceramic, 106.7 x 179.1 x 82.5 cm, at Fondation Beyeler in Riehen, Switzerland, 2012

Jeff Koons - Michael Jackson and Bubbles, 1988 - Exhibition at The Château de Versailles - 2008, 2009

Jeff KoonsMichael Jackson and Bubbles, 1988
Ceramic, 106.7 x 179.1 x 82.5 cm, at Château de Versailles, September 10th 2008 – January 4th 2009


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This dog peed on one of California’s most prestigious art collections

This dog peed on one of California’s most prestigious art collections

Richard Jackson - Bad Dog, 2013 - Orange County Museum of Art (OCMA) - 1
Richard JacksonBad Dog, 2013

As part of his retrospective at the Orange County Museum of Art, Richard Jackson has installed Bad Dog, a giant temporary sculpture of a black labrador “urinating” yellow paint onto the side of the museum. It was an immediate hit. Crowds flocked to see it, and it quickly gained notoriety among both the local community and the art world. Accessible, vibrant, and playful, the work has widely achieved Jackson’s main intention: to make the viewer laugh.

The piece calls into question the role of humor in art, and can be seen as a self-reflexive commentary on the state of elitism and exclusivity in the art museum world.

“Bad Dog” lasted the duration of Jackson’s exhibition “Ain’t Painting a Pain”, before it toured Europe.

About Richard Jackson

Richard Jackson (born 1939) has been a pre-eminent figure on the American art scene since the 70s and is influenced by both by abstract expressionism and action painting.

Richard Jackson - Bad Dog, 2013 - Orange County Museum of Art (OCMA) - 2
Richard JacksonBad Dog, 2013

Richard Jackson - Bad Dog, 2013 - Orange County Museum of Art (OCMA) - 3
Richard JacksonBad Dog, 2013

Richard Jackson - Bad Dog, 2013 - Orange County Museum of Art (OCMA)
Richard JacksonBad Dog, 2013

Photos: #1,4


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