Gordon Fearey

Weave of Matter
I weave six inch wide strips of painted sheet aluminum into blankets. They would look like blankets, except that I incorporate bicycles in the fabric: threading strips through the spokes and frames introduces bumps and curves in the weave, which become exaggerated as the weaving progresses and turn the fabric into an undulating or three­-dimensional shape.

I feel driven to perform every aspect of this ritual: painting the rolls of primed aluminum without aim, as if I were rain or grass subject to accident; cutting them in strips in my improvised factory; suspending bicycles with wires as if they were my surrogates, traveling in an infinitely far-off galaxy; weaving the metal over, under, over with dull repetition, introducing scratches in the color from wear and tear, but also navigating the obstacles of the bicycles the way a squash vine navigates its way to sunlight.

Each of the phases of building a Weave of Matter piece is decisive, but incremental. It’s the accumulation of decisions that makes the piece, and pushes it beyond my comprehension. The methodical process, which is loaded with accident, relieves me of the responsibility for virtuoso picture-making and allows events to occur that I could not make up.

(http://www.gordonfeareyart.com/index.php)


Weave of Matter
22w x 8h x 12d feet, sheet aluminum, bicycles, acrylic, wire, 2011

One
Sheet aluminum, bicycle, acrylic, wire, 128w x 134h x 56d inches , 2010

Road
Sheet aluminum, 2 bicycles, acrylic, 12h x 4d x 9h feet, 2011

LESLIE THORNTON

My earliest training was at Leeds College of Fine Art (1945-48) and the basic discipline of art training was life and particularly antiques drawing. My knowledge of sculpture was exhilarated by visits to the British Museum and actually handling very early Cycladic terracotta figures, simple and direct. It was an inspiring experience I could never forget.


I continued my studies in the British Museum while at the Royal College of Art (1949-51), where I became interested in European contemporary work in sculpture and painting, in addition to the emerging English metal sculpture.


Graduating from the Royal College in 1951, I started experimenting in linear drawing using steel and iron and moving freely between figurative and non-figurative. Figures enclosed within structures or emerging from assemblances, reflect the human predicament both playful and threatening.


I did not set up abstract sculpture in opposition to figurative. A piece of sculpture should be both. Figurative to the extent that it is a represenation of space. The spaces between and around objects and settings are almost as rich as the objects themselves.


Later in my career I became attracted to volume and mass using geometry and colour in welded structures in aluminium and stainless steel.


http://www.leslie-thornton.net/

ROBERT CLATWORTHY

Robert Clatworthy studied at the West of England College of Art from 1945 to 1946, at Chelsea School of Art, London from 1947 to 1949 and at the Slade School of Fine Art, London from 1950 to 1951. He went on to teach at the Royal College of Art, London from 1960 to 1972, and at the West of England College of Art from 1967 to 1971. He was Governor of St Martin’s School of Art from 1970 to 1971, and was Head of the Department of Fine Art at the Central School of Art & Design, London from 1971 to 1975.

Clatworthy was represented by the Hanover Gallery, London during the 1950s, his first solo exhibitions being held there in 1954 and 1956. Subsequent solo shows were held at Waddington Galleries, London (1965), Basil Jacobs Fine Art, London (1972), Royal Academy of Arts, London (Diploma Galleries, 1977) and the Quinton Green Gallery, London (1986). More recently he has exhibited at Austin/Desmond Fine Art, London and at the Keith H Chapman Gallery, which represents him. Among his major public commissions are ‘Bull’ commissioned by the GLC for Roehampton, London and ‘Horseman & Eagle’, originally commissioned for 1 Finsbury Avenue and currently situated at Charing Cross Hospital, London. His work is held in many public and private collections around the world.



Robert Clatworthy RA, Head IV, bronze Clatworthy’s work has also been exhibited regularly in group shows since 1952, including ‘Modern Sculpture’ at the ICA (1955), ‘British Sculpture in the ’60s’ at the Tate Gallery, London (1965), ‘British Sculptors ’72’ at the Royal Academy of Arts, London (1972) and ‘20th Century British Sculpture’, Beaux Arts Gallery, Bath (1986).

Robert Clatworthy lives and works near Dyfed in Wales.

http://www.royalacademy.org.uk/academicians/sculptors/robert-clatworthy-ra,103,AR.html

Kenneth Armitage

William Kenneth Armitage CBE(b. 18 July 1916, in Leeds, England - d. 22 January 2002 in London, Eng.) was a British sculptor known for his semiabstract bronzes.


[edit] Biography Armitage studied at the Leeds College of Art and the Slade School of Fine Art in London before joining the British Army in 1939. Armitage became head of the sculpture department at the Bath Academy of Art in 1946, a year after completing his military service, and served for a decade. In 1952, he held his first one-man show in London. In 1953, he became Great Britain's first university artist in residence, at the University of Leeds (to 1956). In 1958, he won best international sculpture under age 45 at the Venice Biennale. Armitage was made CBE in 1969 and was elected to the Royal Academy in 1994.

[edit] Work Armitage's striking mature style was evident as early as 1952. Most of his works are recognizably human, but are sometimes joined with the forms of animals or furniture. Many displayed quirky humor. Armitage was also interested in Egyptian and Cycladic art and his works have an archaic flavor. He was featured in the 1964 documentary film "5 British Sculptors (Work and Talk)" by American filmmaker Warren Formal.

http://en.wikipedia.org/wiki/Kenneth_Armitage

Anthony Caro

Sir Anthony Alfred Caro, OM, CBE (born 8 March 1924 in New Malden, then in Surrey) is an English abstract sculptor whose work is characterised by assemblies of metal using 'found' industrial objects.
Caro was educated at Charterhouse School and Christ's College, Cambridge, earning a degree in engineering. In 1946, after time in the Royal Navy, he studied sculpture at the Regent Street Polytechnic before pursuing further studies at the Royal Academy Schools from 1947 until 1952.
Anthony Caro found modernism when working as an assistant to Henry Moore in the 1950s. After being introduced to the American sculptor David Smith in the early 1960s, he abandoned his earlier figurative work and started constructing sculptures by welding or bolting together collections of prefabricated metal, such as I-beams, steel plates and meshes. Often the finished piece is then painted in a bold flat colour.
Caro found international success in the late 1950s and for a time was popular in the US. He was also influential as a tutor at St Martins School of Art, now Central Saint Martins College of Art and Design in London inspiring a younger generation of abstract British Sculptors led by his one time assistant Phillip King as well as reaction group including Bruce McLean, Barry Flanagan, Richard Long and Gilbert and George. He and several former students were asked to join the seminal 1966 show at the Jewish Museum in New York entitled, Primary Structures representing the British influence on the "New Art".
Caro taught at Bennington College from 1963 to 1965, along with painter Jules Olitski and sculptor David Smith.
He is often credited with the significant innovation of removing the sculpture from its plinth, although Smith and Brâncuşi had both previously taken steps in the same direction. Caro's sculptures are usually self supporting and sit directly on the floor. In doing so they remove a barrier between the work and the viewer, who is invited to approach and interact with the sculpture from all sides.
In the 1980s, Caro's work changed direction by introducing more literal elements with a series of figures drawn from classical Greece. Latterly he has also attempted large scale installation pieces. One of these large pieces, Sea Music, stands on the quay at Poole in Dorset. To mark his 80th birthday, a retrospective exhibition was organized by the Tate Gallery in 2005. He was knighted in 1987 and received the Order of Merit in May 2000.

http://en.wikipedia.org/wiki/Anthony_Caro



Belt, 1985, Steel painted silver and brown, 238 ½ x 155 × 185 ½ cm/ 7ft 4/5 × 5ft 4/5 × 6ft 4/5ins

Black Cover Flat (1974), steel, at the Tel Aviv Museum of Art.

Caro's Dream City (1996), rusting steel, at the Yorkshire Sculpture Park.

Michail Pirgelis

Michail Pirgelis was born in 1976 in Essen, Germany and raised in Xanthi, Greece. He lives and works in Cologne. In 2010 Pirgelis was the recipient of the Audi Art Award for ‘New Positions’ at Art Cologne and was also awarded the Schloss Ringenberg Stipendium. In 2008 he was the first artist to be presented with the Adolf Loos-Preis by the Van den Valentyn Foundation, Cologne. Solo shows include: ‘Aerotopie’ at Förderverein Aktuelle Kunst, Münster (2006); ‘Akropolis’ at Sprüth Magers, Berlin (2010) and ‘Aeromaritime’ Artothek Cologne (2011). Group exhibitions include: ‘Play’ at the Stadtmuseum Düsseldorf (2005); ‘Schneeweiss’, a joint show with Rosemarie Trockel, at the Rohrmeisterei, Schwerte (2006); ‘Mondi Possibili’ at Sprüth Magers, Cologne (2006); ‘Quattro Stelle’ at the Villa Romana, Florence (2007); ‘Great Expectations’ at ArtLab21, Los Angeles (2008); ‘Saar Förderpreis Junge Kunst 2008’ at Kunstverein Ludwigshafen (2009); ‘Der Westen leuchtet’ at Kunstmuseum Bonn (2010); and ‘Neues Rheinland’ at Museum Morsbroich, Leverkusen (2010). (website: http://www.contemporaryartdaily.com/2011/04/michail-pirgelis-at-sprueth-magers/#more-27397)

Telescope, 2011

original airplane parts (outside shell plate), aluminum, lacquer

262 x 396 x 30 cm

Second Aerialist, 2010

original aeroplane parts/aluminum, abraded

2 parts: 221 x 148 x 17cm and 159 x 265 x 40cm

Akropolis

original aeroplane part (overhead compartment), fabric

3 parts: 320 x 70 x 80cm, 320 x 70 x 80cm, and 270 x 70 x 80cm

Nicole Beck

Nicole Beck is a wonderful sculptor who is based in Chicago. She was educated at Northern Illinois University in DeKalb, IL for her MFA in 1991 through a graduate fellowship, as well as at

Loyola University of Chicago, AB., with a degree in Communications in 1984. Beck also completed undergraduate studies at both the

School of the Art Institute of Chicago and

Purdue University located in West Lafayette, IN.

Nicole Beck's sculptures are mechanisms and contrivances that play with refractions in light, space and time. Her work centers around a holistic approach to art and physics, and is an exploration in perception, growth and interconnectedness.

Beck addresses both the regard for beauty and the laws of quantum physics, and gives form to well-crafted and quirky objects of poetic reflection. Abstracted apparatus and organic forms are juxtaposed as poetic metaphors for archetypes of the flow and balance of energy and life systems.

At the heart of her public works beat the rhythm and beauty of the dynamic systems found in nature and the sciences. Basic geometries balance form with ideas. The elements in her sculpture and installations fuse to create quirky and beautiful poems in space. Large scale public works are her forte. Beck is adept at budgeting, scheduling, fabricating, negotiating and collaborating on projects, and has a degree in communications as well as fine art. She constructs most of her large-scale steel works herself and fully understands fabrication methods.

Beck's repertoire of media mainly include steel and stainless, bronze, wood, glass, and landscaping outdoor public spaces.

She has also been very active in creating collaborative murals and mosaics for public spaces with diverse groups of apprentice artists recruited from the surrounding community. These projects require delving deep into all aspects of the community that can inspire and inform the artwork.

(http://www.nicolebeck.com/)

Quantaloop, 2000

Steel and Lenses

Quasarc, 2001

Painted Steel and Lenses

Jetstream, 2004

Painted Steel

Photos/Information: http://www.nicolebeck.com/ and http://www.sculpture.org/portfolio/sculpture_info.php?sculpture_id=1007876

Angela Bulloch

Angela Bulloch (born 1966 in Rainy River, Ontario, Canada) is a London and Berlin based sculptor, installation artist and sound artist who is recognised as one of the Young British Artists. She studied at Goldsmiths' College, London (1985–1988) and was included in the Freeze Exhibition, 1988. She was nominated for the Turner Prize in 1997, part of an all-female shortlist that also included Cornelia Parker, Christine Borland and Gillian Wearing (who won the prize that year).
[edit]Work

Bulloch has used video, sound and light to explore pre-edited systems. Many of her works make use of biofeedback systems.
Her 1994 work Betaville consisted of a machine painting vertical and horizontal stripes on a wall, triggered whenever someone sat on the bench in front of it.[1]
Angela Bulloch is represented by Simon Lee Gallery, a commercial art gallery, in London.
http://en.wikipedia.org/wiki/Angela_Bulloch


Angela Bulloch, To the Power of 4., 2005, Secession


Angela Bulloch, To the Power of 4., 2005, Secession


Angela Bulloch, To the Power of 4., 2005, Secession

Andrew Severynko

Andrey Severynko is a vanguard Ukrainian sculptor, born in Kiev, 1968. 

It is not easy to identify the style of Andrew Severynko’s sculptures. On entering his underground studio in an old suburban building of Kiev you submerge into the world of magical voyages similar to those of Captain Nemo’s. You are surrounded by ancient mysterious boats, unique insects, beetles. 

The materials used by Andrey are also out of the ordinary - iron springs, cogwheels, screws, rusty irons, parts of typewriters and umbrellas and other debris, found on the scrapheap of civilization. All these unwanted bits of junk have been given a second life by Andrey’s extraordinary imagination and exceptional talent. Due to the complexity of their structure some of the sculptures take years to be completed.

http://art.commongate.com/post/The_art_of_Andrew_Severynko/

Jason Houchen

After graduating with a BFA from the University of Missouri, Jason Houchen relocated to Los Angeles where he discovered highly influential classical folk art, street, and a burgeoning pop surrealism art scene. Through his wood burnings, sculptures, mixed media and paintings he has developed a style that coalesce his Midwest influences with these newly found worlds. Described as being full of life and death, spirits and spirituality, history, as well as memories, his work provokes more questions than answers. Jason Houchen is 30 and lives in Chicago, and has also received his MA in art education from Eastern Illinois University and his MFA from the University of Wisconsin-Milwaukee.

(http://www.jasonhouchen.com/home)


Electric Guitar
Mixed Media Guitar
36"H x 18"W

Sleepy Tree
Steel and found objects
24"H x 48"W


Steel Tree 1
Steel, Concrete, and Wood(Available at Billy Shire Fine Arts)
72"H x 24"W

Jim Dine

Jim Dine was born in Cincinnati, Ohio in 1935. He studied at the University of Cincinnati, the Boston Museum School, and in 1957 received a bachelor of fine arts degree from Ohio University. After graduation, he moved to New York City and became involved with a circle of artists including Robert Rauschenberg, Claes Oldenburg, and Roy Lichtenstein.

As an artist, Mr. Dine incorporates images of everyday objects in his artwork, but he diverges from the coldness and impersonal nature of pop art by making works that fuse personal passions and everyday experiences. His repeated use of familiar and personally significant objects, such as a robe, hands, tools, and hearts, is a signature of his art.

In his early work, Mr. Dine created mostly assemblages in which he attached actual objects to his painted canvases, as in Shoes Walking on My Brain (1960). From 1959 to 1960, Mr. Dine also was a pioneer of happenings, works of art that took the form of theatrical events or demonstrations.

In 1967, Jim Dine and his family moved to London, England, where he devoted his energies to printmaking and drawing. When he returned to the United States in 1971, he concentrated on figure drawing. Jim Dine is considered among the most accomplished draftsmen of his generation, and is known for his series of self-portraits and portraits of his wife, Nancy. Mr. Dine's attention turned to sculptural work in the early 1980s when he created sculptures based on the ancient sculpture Venus de Milo. His recent art uses imagery borrowed from ancient Greek, Egyptian, and African objects.

http://www.globalgallery.com/artist_biography/jim+dine/

Wheat Fields  1989
Painted bronze with patina and pigment

Two Big Black Hearts  1985
Bronze

Two Thieves, One Liar  2006
Enamel on Wood

Jill Underhill

Museum quality wall art made with the latest high-definition digital technology is an excellent choice incorporate art and home decor. Laser printers create long-lasting and beautifully perfect images on silver-halide photography paper. The latest and best 6-color Iris printers are used to create giclee fine art prints on watercolor paper and fine art prints on canvas that are virtually indistinguishable from the original. The resulting artwork, matted and framed or stretched on canvas, dramatically enhances morale and esthetic mood. Art heals and enlivens the soul. The experience of living in your own personal art gallery is truly impressive and uplifting. 

We should know. We are a brick & mortar fine art and fine craft gallery one-half mile from Lake Michigan in the middle of the beautiful little town of Harbert, Michigan, 80 miles from the center of the Chicago Loop. (Here's a map.) Our lives are dedicated to making and showing & sharing artwork with the world. We can't live without it.

Come join us in the celebration of the celebration 

 the enchantment and magic of Art!

http://www.jillunderhill.com/

Calvin Allison

“My work is a blend of classicism and abstraction. Sculpted screen allows me to manipulate light and line with shadow to create illusions.”

After receiving a Bachelor of Fine Arts degree from Evergreen State College, Calvin studied in London under the eminent British Sculptor, David Begbie. Begbie introduced him to sculpting in screen and steel, which continues to inspire his ongoing exploration of form, light and line. Calvin has been successfully sculpting using metal screen since 1992.

Calvin’s artwork is all one of a kind, made entirely by hand. Then powder coating gives the sculpture rigidity and permanent tensile integrity. The medium of metal screen is unforgiving, requiring extreme patience, time, dexterity and hand-eye coordination to create each individually signed piece.

(http://calvinallison.artspan.com/home)

diana
steel screen sculpture , 2006
24"H x 12"W
61cm H x 30.5cm W

toe dancer
steel screen female ,powder coated blak,onsteel base
26"H x 9"W
66cm H x 23cm W

appolo's back
steel screen sculpture,2007
24"H x 12"W
61cm H x 30.5cm W

Richard Serra

Born in 1939, Richard Serra is one of the most significant artists of his generation. His groundbreaking sculpture explores the exchange between artwork, site, and viewer. He has produced large-scale, site-specific sculptures for architectural, urban, and landscape settings spanning the globe, from Iceland to New Zealand. Earlier this year, he conceived Promenade, a course of five steel sculptural elements towering seventeen meters, for MONUMENTA at the Grand Palais in Paris. In addition to the drawing retrospective "Work comes out of work" at the Kunsthaus Bregenz (2008), other recent projects include the eight-part permanent installation The Matter of Time at the Guggenheim Bilbao (2005) and "Richard Serra Sculpture: Forty Years" at The Museum of Modern Art, New York (2007).
http://www.gagosian.com/artists/richard-serra/

RICHARD SERRA
Elevational Mass, 2006
Hot rolled steel
60 x 84 x 72 inches overall (152.4 x 213.4 x 182.9 cm)

Richard Serra, Vortex 2002

Robert Melee

David Kordansky Gallery is pleased to announce a solo exhibition of new work by Robert Melee. The exhibition opens on March 13 and runs through April 17, with an opening reception to be held on Saturday, March 13, from 6:00––9:00pm. Melee will show new works that transform elements of modernist and classical formalism into the building blocks for his own irreverent, kitsch-filled language.

Since the beginning of his career, Melee has sought to relocate the formal debates of the Western art historical tradition in the psychological realm of the suburban home. Whether he is honoring and disrupting the integrity of the picture plane, testing the limits of autobiographical reference, or telescoping Warhol’s pillage-and-burn regard for culture into an intricately-rendered personal iconography, Melee situates his practice in a place where high and low not only interact but cross-pollinate.

On view in the current exhibition will be examples of Melee’s beer bottle cap paintings, in which he builds up a sculpturally activated surface to skew, accentuate and/or undermine compositions (which sometimes include other found objects) and color relationships. These works arose out of a desire to return to the solitude of the studio; after working on short films exclusively for a period in the 1990s, Melee wanted to make physical works that would encompass, abstractly, some of the issues he had tackled in the films: class, obsessive behaviors, nostalgia, and humor. The use of beer bottle caps, found objects that accumulate as a result of drinking, becomes both a formal gesture and a sociological one. The beer bottle caps also lend an element of craft to the paintings, even as compositional strategies borrowed from mid-twentieth century Modernism are used to organize the works’ overt physicality. Melee’s paintings can also be seen as sites where urban and suburban attitudes enter into both conflict and collaboration.

Such conflation of high and low is not merely an end in itself, but awakens the mind and eye to the possibility of intense aesthetic potential in the suburban environment. In his sculptures, Melee often combines disparate found elements––audio speakers, mannequins, appliances, sections of wall––with painted plaster that appears to be draped like fabric. In some works the plaster elements take on a primary role, and even overtake the found objects altogether. Included in this group is a sculpture in which a mannequin is covered with plaster and paint; here the human form, and its psychological implications, can also be traced back to Melee’s earlier film works. Others pieces are wall-based, and seem to resemble sculptures of paintings, their plaster forms like lengths of canvas that have been bunched, rolled or pinned.

Melee’s formal experimentation finds its psychological analogues in the blurring of beauty and grotesquerie, nostalgia and critique. In so doing, Melee’s work suggests an underground or alternative narrative of how and why visual ideas develop; because Melee’s language draws in such a large part from the private realm of domestic environments, his work elicits emotional responses that are both uncannily familiar and disarmingly strange.

Robert Melee has exhibited internationally in wide range of public and private institutions. In 2008 the Public Art Fund organized an exhibition of his outdoor sculptures at City Hall Park in New York. He has been the subject of one-person exhibitions at White Cube, London; the Corcoran Museum of Art, Washington; the Milwaukee Art Museum; and Andrew Kreps Gallery, New York, among many other galleries and institutions. His work has been included in numerous group shows in recent years, including Bad Habits, Albright-Knox Art Gallery, Buffalo (2009); Wild Exaggeration: The Grotesque Body in Contemporary Art, Haifa Museum of Art (2009); Greater New York , P.S.1 Contemporary Art Museum (2005); Make It Now: New Sculpture in New York at Sculpture Center (2005); and Adaptive Behavior, The New Museum of Contemporary Art, New York (2004). He lives and works in New York City and New Jersey. (website: http://www.contemporaryartdaily.com/2010/03/robert-melee-at-david-kordansky/).

Squat, 2010

Enamel paint on fiberglass

60 x 28 x 28in.

Her Chair, 2010

Enamel paint, plaster, fiberglass, on wood, metal, and plastic chair

48 x 63 x 28in

Phone, 2010

Enamel paint on fiberglass, imitation wood panel, and wood

46 x 22 x 9in.

His work using beer bottle caps:

Anti-Inter Shamelessness Substitution, 2008

Wood, stove, plaster, enamel, and beer bottle caps

89 1/2 x 32 x 50in.

Multi Disco Sectionalism Stella Substitution, 2010

Beer bottle caps, plaster, enamel paint on wood

73 x 51in.

Michael Alfano

Michael Alfano has been sculpting figures, monuments, and philosophical pieces for over fifteen years. He first studied at the Art Students League of New Yorkwith an emphasis on life size sculpture and anatomy. His formal education continued at Boston University, and was augmented by internships with several prominent sculptors. He continues his training with master classes, and occassionally teaches sculpture. Michael exhibits his work at galleries and other public venues, and he is a regular entrant in art shows, where he has garnered over 50 awards. His sculptures are found in private collections throughout the world. Monuments and other public art he's created are on permanent display in the United States. Newspapers, magazines, books, and television have featured Michael and his work. "The best art engages, generates discussion, and brings about change. My art compels viewers to experience, think, and understand life more fully." Michael Alfano is known for creating figurative and surrealistic sculpture that goes beyond the literal, adapting the figure to convey philosophical ideas and abstract concepts. He cites his major influences as Salvador Dali, Jo Davidson, and Jean-Antione Houdon, as well as Buddhist, Taoist, Sufi, and other eastern philosophy and literature. "When I dig into the clay, I pull out a vision that previously existed nowhere but inside my head, or some other place I don't know but am in touch with." Sometimes Michael sketches his ideas on paper, but most often sculpts a small model in clay or wax. He typically uses water-based clay to create the full-size sculpture. This can take anywhere from a few days to many months. Then he works with specialists to make a mold and create castings in cold cast copper, resin, or bronze. After casting a piece, Michael finishes and signs it, numbering the limited editions. "While there are various meanings to all of my sculptures, once a viewer sees it, they add their own equally valid interpretation. It's enriching and  when we discuss my artwork." http://www.malfano.com/artist.html