SPRING 16 Vol. LXV No. 1

US $6.95/Canada $8.95/Euro 8.00 A PUBLICATION OF THE NATIONAL SCULPTURE SOCIETY – WWW.SCULPTUREREVIEW.COM

NARRATIVE IN RELIEF SCULPTURE

beckstromgallery.com

In all the e-bookstoresPaper copies may be purchased at the Palette & Chisel Academy,

Chicago

��������������� ������������������������������� ���A student, sitting at the foot of the statue, has put down her drawing board and

�� ��������������� �������������� ��������� ����������All are amazed to realize that the statue has come to life.

MAKING ARTby JACK

before reading“The NewWay to Sculpt” in

Don’t SculptClothes or a

Hard-to-HoldPose . . .

Renaissance Figurative Art, J. Beckstrom

1-877-457-7423 • (801) 489-6852

767 N. MAIN ST. • SPRINGVILLE, UT

WWW.GARYLEEPRICE.COM

BEN FRANKLIN EINSTEIN MONET

MARK TWAIN

SHAKESPEARE

ABRAHAM LINCOLN

See the Great Contributors Series

The Dallas Arboretum and Botanical Garden8525 Garland Road, Dallas, Texas

www.dallasarboretum.org

AT

GEORGE WASHINGTONWRIGHT BROTHERS

GreatContributors

BY

On DisplayThrough

November 2016

4 S C U L P T U R E R E V I E W

CO

PY

RIG

HT

by David Wolf

Fair use makes permissible what would normally be considered to be an infringement of copyright. Depending on what you’re doing as an artist, fair use

can be considered to be either an asset or a danger. If you’re in the process of creating a sculpture or other artwork, fair use may permit you to make use of the creations of other artists without first having to get their permission, or even giving the other artist credit—which may in any event be a good thing to do. On the other hand, if you are that other artist whose work has been used without permission, you may consider fair use to be legally sanctioned theft.

Fair use has traditionally been applied most commonly to activities that involve scholarship or criticism. It allows the writer of a biography of an artist to use some quotations or images from the artist’s work, or a book reviewer to quote a few lines from a book of poetry being critiqued.

The fair use doctrine has also been applied to permit artists to use portions of others’ copyrighted works with impunity. This is the area where many of the controversial decisions have been made.

The rules on the application of fair use are in Section 107 of the Copyright Act that has a nonexclusive list of factors that must be used in deciding whether a use is fair. Those factors are (1) the purpose and character of the use, includ-ing whether the use is commercial or for nonprofit purposes; (2) the nature of the copyrighted work; (3) the amount and substantiality of the portion of the copyrighted article used; and (4) whether the use will have an effect on the market for or value of the copyrighted work. Many courts apply the first fair use factor—the purpose and character of the use—by evaluating whether the alleged infringing work’s use of the copyrighted work is “transformative,” and this often becomes the focus of the entire decision.

These “fair use factors” are very broad and can be applied in many different ways. And if a trial court judge’s decision on a fair use question is appealed by the losing party, the three judges in the appellate court will then make their own decisions based on what may be very different impressions of the case.

A case in point is the 2013 decision by the Second Circuit Court of Appeals, the federal appellate court in Manhattan, in the lawsuit brought by the professional photographer Pat-rick Cariou against Richard Prince, the appropriation artist. In 2000, Cariou published a book, Yes Rasta, which contained portraits and landscape photographs that he had taken over a six-year period when he lived among the Rastafarians in

WHAT’S ALL THIS ABOUT FAIR USE?

Jamaica. The book sold fewer than 7,000 copies, and Cariou made less than $10,000 from it.

Richard Prince came across the book and used many of Cariou’s photographs with varying alterations to create art-works that were ten times or more the size of Cariou’s book, and sold a group of eight of them for $10,480,000. Some-times Prince altered a Cariou photograph so much that it was almost completely obscured, or took headshots from a Cariou photograph and pasted them on images appropriated from other sources. Other times he only painted “lozenges” over the subject’s eye and mouth or pasted a picture of a guitar on the image.

Cariou sued Prince and claimed that thirty of Prince’s works infringed the copyrights in his photographs. The trial court re-jected Prince’s defense of fair use and ordered him to deliver all the unsold copies of his work to Cariou to destroy, sell, or otherwise dispose of. The judge based her decision on the finding that Prince’s work was not “transformative” because it did not “comment on, relate to the historical context of, or critically refer back” to Cariou’s photographs.

Prince appealed, and the Second Circuit court, making its own judgment on the works, reversed the first decision. Find-ing that the district court took a too restrictive approach, the Second Circuit asked whether the new works altered the orig-inal with “new expression, meaning, or message.” The Court, with one of the three judges dissenting, held that all but five of Prince’s thirty works were “transformative” because they had a “different character” than Cariou’s photographs and presented images “with a fundamentally different aesthetic,” comparing Cariou’s “serene and deliberately composed por-traits and landscape photographs” with Prince’s “crude and jarring” and “hectic and provocative” works.

Cariou v. Prince is a controversial decision, like many oth-ers in this challenging area of the law. And while it deals with photographs and paintings, the standard the Court uses to evaluate fair use—whether the new work has “a fundamen-tally different aesthetic”—would apply to fair use disputes involving any other creations that can be copyrighted, includ-ing sculptures of any size.

This article will hopefully be of interest to readers, but it does not provide legal advice applicable to a particular situation.

David Wolf is an attorney practicing in New York City and in Kent, Connecticut.

More copyright mysteries to be unveiled in the next article.

Copyright law can sometimes be an obtuse subject. Fair use is one of its most challenging issues, even

though most people believe that fair use should be easy in both concept and application.

Unfortunately, it’s not. Unpredictable, it is.

Interview with Guest CuratorEugene Daub

Gordon Alt

8

Narrative In Contemporary Relief Sculpture

Wolfgang Mabry

16

FIDEM and the Art Medal: Portable, Personal, and Peculiar

Cory Gilliland

26

The Fascination Of Medallic Art

Mashiko30

The American Art Medal

Bev Mazze36

CO

NT

EN

TS

NARRATIVE IN RELIEF SCULPTURE

16

26 3630

8

Fron

t co

ver

phot

o: C

ourt

esy

of th

e ar

tist.

Rig

ht p

hoto

s: ©

20

16 A

rtid

a; c

ente

r: C

ourt

esy

of W

ashb

urn

Gal

lery

, NY.

6 S C U L P T U R E R E V I E W

www.SculptureReview.com

Spring 2016

Editor-in-Chief/Art DirectorGiancarlo Biagi

Managing EditorGermana Pucci

Executive EditorJill Burkee

Production ConsultantHans Kraus

Photography ConsultantMariana Cook

Copyeditors/ProofreadersElaine M. Alibrandi

Carol S. HalberstadtStaff Writers

Wolfgang MabryJodie A. Shull

Circulation DirectorElizabeth Helm

Financial AdvisorHiram Ball

Guest CuratorEugene Daub

•Editorial BoardSisko, Chairman

Gordon J. AltRichard Blake

Lee HuttTuck Langland

Margaret NicholsonRebecca A. G. Reynolds

Robin SalmonNeil Estern, Emeritus

Dan Ostermiller, EmeritusMichel Langlais, Ex-Officio

•Publisher: National Sculpture Society

www.nationalsculpture.org

Sculpture Review (ISSN 0747–5284) is published quarterly by the National Sculp-ture Society, Inc., 75 Varick Street, Floor 11, New York, NY 10013. Telephone: 212-764-5645. Fax: 212-764-5651. www.nationalsculpture.org. Third-class postage paid at Utica, New York, mailing offices. Printed in the USA.

All contents © National Sculpture Society, Inc. (NSS), unless expressly stated other-wise. Opinions expressed in Sculpture Review are those of the individual authors and do not necessarily reflect the opinion of NSS or any of its membership. NSS is a not-for-profit membership corporation established in 1893.

Per copy in the U.S., $6.95, subscription $68.00 for three years, (12 is-sues). In Canada, $8.95/copy. In Europe, 8.00 Euro. International sub-scription $150.00 for three years (Air Mail Letter Post only). This issue of Sculpture Review is indexed by EBSCO Publishing. Address all subscrip-tion correspondence to Sculpture Review, National Sculpture Society, 75 Varick Street, Floor 11, New York, NY 10013.

CHANGING ADDRESS? Please notify us thirty days prior to changing address—the postmaster does not forward this magazine subscription. We are not responsible for the loss of any issue.

Letters to the editor: Please write to Sculpture Review, 56 Ludlow Street, New York, NY 10002.

Cover: Alec, My Son by Suzanne Storer (2012), ceramic, mixed media, 21 inches high. Table of Contents: 8 - Mujer Pegada Series No. 6 (Cast 2/4) by Manuel Neri (2006), bronze with oil-based pigments, 84-1/2 inches high; 16 - The Sermon on the Mount by Anthony Visco; 26 - Kite by Ivanka Mincheva, cast bronze, 4-3/4 inches high; 30 - Message to the World by Bogomil Nikolov; 36 - The Masculine Mystique: the Curse of Casanova by James Malone Beach (2015).

The benefits of Associate membership include:■ NSS exhibition prospectuses ■ Access to Community area of NSS website■ Bimonthly professional newsletter ■ Invitations to participate in NSS activities■ Access to NSS archives ■ Sculpture Review magazine■ Grants, awards, and competitions infoAs an Associate, you will also have the opportunity to participate in many other programssponsored by the Society. Associate membership fee $75/one year; $195/three years.($90/one year International; $240/three years International - U.S. funds only). Register online at: www.nationalsculpture.org for a discounted membership rate.

The National Sculpture Society invites you to join the ranks of theSociety as an Associate.We encourage our readers who are sculptors to consider this membership category.

it’s good to belong...

National Sculpture Society

Erratum in Winter 2015:The photo credit for the Bear Mother sculpture on page 12 and the Shark Mask sculpture on page 13 of the Winter 2015 issue should have been Photos: Harold J. T. Demetzer 2014 and 2006.

PO

INT

OF

VIE

WBILLBOARDS AND

“POCKET CHANGE”

Billboards? In surviving life, death, and taboos, prehistoric humans left marks of their rituals and cre-

dos. Pigments wash away unless protected in caves, whereas scratches and carvings withstand weathering. Outlining the images and modeling the forms were the beginnings of bas-reliefs. Today, we are moved by their beauty, power, and simplicity.

As civilizations such as the Hittites, Babylonians, Phoenicians, and Egyptians emerged, their “billboard” reliefs ad-vertised power, con-quest, deities to worship. They in-form, instruct, nar-rate, advise, and decorate with precision and wisdom. Walk-ing the streets of Babylon, we are overwhelmed: Only the blessed could carve, touch, and ex-press the wealth of the God ruler. In our “New Babylon,” these carvings have been replaced by a frenzy of kinetic art, a multitude of moving billboard im-ages with billions of pixels turning on and off on command, the blinding force of our tech-nological achievements.

“Pocket change”: a medal, an object one can touch and handle. When our art critics, fu-eled by convenience and sponsorship, state, “A painter no longer paints with a brush,” for us mortals—the romantic beggars of society who still believe in the smell of fresh clay—the medallic art piece remains as a token of

On this page, center: Medal For Dishonor- Diplomats by David Smith (1938–1939), cast bronze, 10-3/8 inches diameter; as an artist of the WPA, he did a series of medals on the same theme; clockswise: Bronze reliefs by Gregg LeFevre assisted by James Owens (1996), that celebrate the rich architectural heritage of the commercial properties in the Grand Central Partnership district.

existence, its size in service to the individual, who carries it as a memento mori. In 1938, Da-vid Smith, one of the many protégés of this “New Babylon,” sculpted a series of medals of dishonor. Soon after, he became king of the era of abstract sculpture, his work reflect-ing the fast pace of steel construction—new towers of the new cities abstracted by monu-mentality that would have shocked the an-cient builders of temples and pyramids.

As you rush, smart phone in hand, through the streets

of our new Babylon—New York City—your

feet will slide over bronze bas-relief

building portraits embedded in the sidewalk along the corner of 40th Street and Park. If you have

time, stop and look around. You

will see the actual building that the bronze

relief you are stepping on is portraying. This scene reminds me

of Plato’s cave: Reality is around us, but we are blind to it, our vision obscured by a meta-phorical shadow, in my point of view.

Giancarlo Biagi

INTERVIEWby Gordon Alt

GA: This issue of Sculpture Review features Relief Sculpture. Why is it a unique form of sculpture?

ED: Through every major artistic period, relief sculp-

ture has been a well-represented art form and has continued to

evolve into the present. Because most relief sculpture before

the twentieth century was carved in stone it has often survived

the ravages of time. So the voices expressed through this me-

dium have been uniquely continuous.

One of the powerful aspects of relief is its relationship to nar-

rative. Relief has been employed to express narrative—articulat-

ing political, historical, and spiritual ideas. Narrative has been

employed to such a great extent in sculptural relief that it seems

to be expected by the viewer or implied by the sculptor.

Another important way in which relief sculpture is different

from three-dimensional sculpture is in its particular relationship

to architecture: Relief sculpture invites the viewer to see a spe-

cific visual point of view rather than allowing the viewer to move

around the sculpture. Relief sculpture is also ever-present in the

coin of the realm. Nearly everyone is walking around with little

sculptures in their pockets. This creates a very intimate cultural

connection that three-dimensional sculpture cannot claim.

WITH GUEST CURATOR, EUGENE DAUB

Lef

t ph

otos

: Lee

Fat

herr

ee. C

ourt

esy

of H

acke

tt/M

ill, S

an F

ranc

isco

. Rig

ht p

hoto

s: C

ourt

esy

of t

he a

rtis

ts.

Opposite page, top: Arcos de Geso X by Manuel Neri (1985), plaster, pigments, wire and wood armature,79 inches high; bottom: Ar-cos de Geso (Diptych, Cast 4/4) by Manuel Neri (2006), bronze with oil-based pig-ments, 75 inches high. On this page, clockwise from top left: The Gulf Stream (after Homer) by Timothy Woodman (2012), oil paint on aluminum, 5-3/4 inches high; Watson and the Shark (after Copley) by Timothy Woodman (2012), oil paint on aluminum, 5-3/8 inches high; The Raft of the Medusa (after Gericault) by Timothy Woodman (2012), oil paint on aluminum, 8 inches high.

GA: Can you give some examples of relief evolving “into the present” as you just indicated?

ED: In contemporary American relief sculpture, an interest-ing pair of artists to look at who express an incredible range and contrast is seen in the complex traditional style of relief practiced by Anthony Visco in his biblical narratives, which is in stark contrast to Suzanne Storer’s ceramic works, where the linear elements have a lyrical relationship to her ‘pillowy’ and globular sculptural forms. Both artists are working in relief, but evolving in very different directions.

GA: What excites you about working in relief?ED: I, personally, enjoy working in relief because to me it

takes the best of drawing, painting, and sculpture, and in this combination of all three, the sculptor can choose, compose, and balance those elements. A relief sculpture can be exe-cuted in high, middle, or low form, and I can choose to work in a small or heroic scale and in a variety of media. This range of scale offers me many opportunities to work both on a 3-inch medal or an 18-foot architectural relief, both of which are equally challenging. The smaller scale of medals enables a range of creativity that is more accessible than a large relief for-mat. There is some-

thing about the small format that at least for me allows a more intense focus and distillation of the idea, and I am more willing to take greater risks at this scale.

GA: What is the role of relief in contemporary architecture? ED: This is in the hands of the architects and patrons. Ambi-

tious public buildings in the United States up through the 1940s were much more inclined to use integrated relief sculpture as part of the architecture. The ensuing modern architectural styles have not been friendly to this kind of relief sculpture, which has been a missed opportunity for the decoration and enhancement of public buildings.

GA: Can you talk about artists who are currently doing in-novative work in larger-scale relief?

ED: Three artists who are redefining the boundaries of relief are Manuel Neri, Timothy Woodman, and Suzanne Storer. They

are very different in their approaches and methodologies, but all combine color and form to express a totally unique vision.

Neri unites all the skills of the carver, modeler, and painter, expanding the boundaries of relief. For example, through the image of only a single female figure and an ambiguous back-ground wall, he is able to create a sense of mystery. There is mystery in how he creates visual tension, because the background, which is generally viewed as a negative space in most reliefs, reads more like a wall, and then not. When he is most successful in his use of color, he also creates visual tension by employing color to both illustrate the surface and remind us of the illusion of space created by the shallow relief.

Woodman uses none of the modeling techniques of tradi-tional sculpture to create illusion and likeness. He fabricates his sculptures by cutting sheet aluminum into shapes. He then bends, arranges, and rivets them together, creating images that relate to the folk art tradition of whirligigs. The high relief of the superimposed shapes are painted in a way that creates deeper shadows than would be possible in traditional relief. This particular marriage of painting and form creates a simple but daring and playful visual expression. As with Neri, Wood-man’s figures are simplified.

Suzanne Storer is a relative newcomer, and is making bold relief sculpture combining linear and formal elements in a

On this page, top: 9-11-01 by Irving Mazze, engraved rock crys-tal, 2-1/4 inches high; middle: Tolouse Lautrec by Irving Mazze, engraved black and white banded agate, 2-1/2 inches high; bottom: Irving Mazze Commemorative by Eugene Daub (2005), cast bronze, 3 inches high.Opposite page, top: Mujer Pegada Series No. 6 (Cast 1/4) by Manuel Neri (2006), bronze and oil-based pigments, 84-1/2 inches high.

Lef

t ph

otos

: Tar

a D

onah

ue. C

ourt

esy

of M

edia

lia R

ack

and

Ham

per

Gal

lery

. Rig

ht p

hoto

: Lee

Fat

herr

ee. C

ourt

esy

of H

acke

tt/M

ill, S

an F

ranc

isco

.

10 S C U L P T U R E R E V I E W

fluid and original way. Traditional realistic sculptural relief uses figure and ground in much the same way it is used in drawing and painting. In Storer’s relief sculpture the back-ground is eliminated, which is a radical de-parture from relief. Her work becomes more like traditional three-dimensional sculpture.

She creates a wonderful interplay of the overlaid drawing and the underlying form. The drawing and sculptural elements dance together, sometimes in lockstep and at other times spinning off on their own. (See article

in this issue, “Narrative in Contemporary Re-

lief Sculpture,” p.16).GA: What is happening in the world of

medallic art in the United States? ED: Nothing short of a revolution, albeit a

slow-moving one as revolutions go. It start-ed in 1982 with a group of artists who later formed the American Medallic Sculpture Association. (See article in this issue, “The

American Art Medal,” p.36). They represented a new genera-tion of artists inspired, in part, by their contemporary European counterparts, to reinvent the traditional art of making medals. This small new band of artists proceeded to break down every

medallic convention that they could, and for the last thirty-five years we have seen a lot of innovative work that has been building on itself with younger artists.

GA: So the medal as being round and metal is no longer sacrosanct?

ED: The Americans found new ways to de-sign medals, and many were neither metal nor round.

GA: What were those new medals made of, and how were they produced?

ED: One artist who stands out was Irving Mazze, a well-known gem engraver who be-gan to use his intaglio skills (negative relief) to make portraits and figures in precious gemstones in the medallic format.

His pieces are truly one of a kind, in mate-rials like black onyx and rock crystal, which has a special way of letting the light play over the transparent forms. Mazze would choose a stone that would be inspired by his subject.

Mazze felt a kinship with Augustus Saint-Gaudens, who was also a gem engraver, and later discovered the work of Jiří Har-cuba, a Czech medalist who engraved portraits in glass. All three used the tradition of working the stone or glass with a

12 S C U L P T U R E R E V I E W

Lef

t ph

otos

: Cou

rtes

y of

the

art

ist.

Rig

ht p

hoto

s: T

ara

Don

ahue

. Cou

rtes

y of

Med

ialia

Rac

k an

d H

ampe

r G

alle

ry.

Opposite page, top left: The Socialite by Suzanne Storer (2016), ceramic and mixed media, 24 inches high; top right: Ashley by Suzanne Storer (2011), ceramic, 19 inches high; bottom: Pretty Boy by Suzanne Storer (2016), ceramic with barbed wire, 27 inches high.On this page, top: Mankind Series by Eugene Daub (1991), mixed materials, pressed, 3-3/4 diameter; bottom: Eternity by Mashiko (2005), Commemorating the 200th Birthday of H.C. Andersen, variation of 2, bronze, 1-3/4 inches high.

spindle, which is something like a compact bench-mount-ed milling machine with a horizontal shaft that can be fitted with different tools. To engrave a gemstone, the gem is brought up under the cutting tool and lightly touched to the rotating tool, which is lubricated with oil and diamond dust during the process of grinding.

Many of the early American medalists in 1983 and af-ter couldn’t afford to have medals created the traditional way—through a commercial mint and pay the high costs of dies and striking. This group sought out lower-cost solu-tions, which fired their creativity to invent new techniques. Many simply had their work cast as a one of a kind or small edition. Others used assemblage on a smaller scale, and with a wide range of materials. I, myself, found a solution through the use of a 20-ton hydraulic truck jack that al-lowed me to experiment and press various materials, like thin sheets of aluminum, copper, tin, and more, into an ep-oxy mold to produce one of a kind layered medals.

GA: Who are some of the European artists you admire? ED: I’ve always been very impressed with the contempo-

rary medals produced by Polish artists over the last thirty-five years. In the last ten years, I’ve come to admire the work of Magdalena Dobrucka. I particularly respect her vir-tuosity of modeling and deft use of negative space.

GA: What do you see for the future of relief sculpture? ED: Everyday digital technology now replaces some-

thing formerly done by hand. Something may be lost, but something may be gained. Younger artists will have new expressive possibilities offered by this technology and new ways of making art.

In this issue, we document relief sculpture that is be-ing released from the traditional mold, which is, in part, inspired by new technologies. I hope the work will inspire artists and enthusiasts in both the spirit of tradition and the spirit of change. Medallic sculpture, in particular, with its use of old and new approaches, makes possible a wide choice of aesthetic options. New materials and methods have always impacted sculptural relief, offering new ways to shape a story—and story/ narrative has been one of the primary tasks of relief sculpture.

S C U L P T U R E R E V I E W 13

Gordon Alt is the executive director of the John Cavanaugh Founda-tion. He is also a member of the editorial board of Sculpture Review, and currently serves as second vice president of the National Sculp-ture Society.

Opposite page: Founders Plaza by Anne and Eugene Daub (2008); bronze panel by Eugene on cast colored concrete, Santa Fe Springs, CA.On this page, top: Kite by Magdalena Dobrucka (2006), bronze; from middle left to bottom left: Meditations (2013) and Cry (2012) by Magdalena Dobrucka, plaster; from middle right to bottom right: Friend (2010) and Hunter (2013) by Magdalena Dobrucka, bronze.

GA: Give me a little background on the writers who have been selected for this issue.

The group of people working in all aspects of Ameri-can medals and coins is very small and interrelated. Three of these are Cory Gilliland, Bev Mazze, and Ma-shiko. All are involved on multiple levels.

Cory Gilliland has a master’s in art history from the University of Chicago. She is curator emeritus and past assistant director of the National Numismatic Col-lection, Smithsonian Institution. She is a life member of the American Numismatic Association and a past board member of the American Numismatic Society, is a founding member of the American Medallic Sculpture Association, and has served as a U.S. delegate to and as international vice president of the International Art Medal Federation.

Bev Mazze has a M.B.A. from the New York Institute of Technology (NYIT), but most enjoys researching and writing articles about glyptic and medallic art. She is a founding member of the American Medallic Sculpture Association (AMSA), and became president a few years later. She is a member of the Saltus Award Committee at the American Numismatic Society (ANS). Currently a vice delegate to FIDEM, she previously led marketing workshops at a number of the Congresses. She testified at a congressional hearing about the United States Mint process of selecting artists to create American coinage.

Mashiko lives in New York City. She is an independent curator, and an organizer of medallic art and small-scale sculpture exhibitions, both national and internationally. She is one of the most seminal and innovative artists and educators in the discipline of medallic art. She stud-ied the foundations of art theory and techniques with the prominent artist Kazuo Tsuboi at his seminars be-tween 1950 and 1962. As a master lecturer at The Uni-versity of the Arts in Philadelphia from 1994 to 2012, she pushed her students to find new and untraditional ways to reinvent the medal.

This interview was conducted by Gordon Alt with Eugene Daub in January 2015.

S C U L P T U R E R E V I E W 15

Phot

os: C

ourt

esy

of t

he a

rtis

ts.

Sculptors on every continent have used relief

for thousands of years to narrate without text.

Contemporary sculptors have found engaging ways

to use new and traditional materials in relief sculptures, to

narrate, but to narrate with mystery, touching on subjects

that defy facile definition. Ann Cunningham, Amy Kann,

Jedediah Morfit, Christopher Smith, Suzanne Storer,

and Anthony Visco, are among the many contemporary

masters who offer viewers the added enjoyment of

increased interpretative freedom, all the while opening

new avenues of possibility for future generations.

NARRATIVE by Wolfgang Mabry

Phot

os: C

ourt

esy

of t

he a

rtis

ts. B

otto

m, l

eft

phot

o: M

edia

Art

s L

ab.

in Contemporary Rel ief Sculpture

Believing that sensory experience does not always divide neatly or clearly between the senses, Colorado sculptor Ann Cunningham has dedicated her career to making sculpture ac-cessible to the blind and visually impaired. She carves slate reliefs, occasionally adding other materials not just for how they look but for how they feel. Because eyes have vastly more neurons than fingers, Cunningham creates tactile reliefs with elements large enough to be experienced by touch. Her reliefs explore themes taken from folklore, fairy tales, and na-ture, simplified to eliminate sensory confusion, and to be expe-rienced by touch without sacrificing visual interest. In “Forest

On this page, top left: A Lucky Spectacle by Ann Cunningham (2004), slate, cherry wood, bronze and gold leaf, 24 inches high; bottom left: Nepal by Ann Cunningham (2000), slate, Colorado Yule marble, bronze, 24 inches high.

On this page, top right: The Field by Amy Kann (2009), Forton, 25 inches high.Opposite page: Antigone’s Dilemma Triptych (Beseeching, Ethroned, Deposed) by Christopher Smith (2014), GFRC, 36 inches high.

16 S C U L P T U R E R E V I E W

“... a flower into her hands, symbolic of life’s boundless possibilities,

she serenely accepts the harshness that must accompany the beauty.”

18 S C U L P T U R E R E V I E W

Phot

os: C

ourt

esy

of t

he a

rtis

ts.

Folklore,” a 2015 exhibit of twenty-nine sculptures at the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin, Cunningham incorporated forest sounds, invited touching by all visitors, including children, and in-troduced Wolves I, II & III), completed in 2014, a trio of two-sided relief sculptures in tactilely and visually satisfying slate, intended to give the sense of a full-volume sculpture in the round when experienced with both hands.

Sculptor Amy Kann brings viewers quietly into the unknowable future a young girl faces approaching adolescence. In a bas-relief called Transi-

tion, Kann depicts a girl in a field of wild flowers where the soft and lovely blooms contrast with sharp and prickly leaves and stems. As her subject takes a flower into her hands, symbolic of life’s boundless possibilities, she serenely accepts the harshness that must accompany the beauty. Kann’s subject is moving forward, but with meditative calm. Another of Kann’s reliefs called The Field narrates an equally personal experience, the clarity and stillness she feels when sculpting, as symbolized by the stately birches, the smoothness of her gown, and the peace of a quiet grove. In her process of communicating the magic of quietude for view-ers, Kann also lets that stillness point her to the truth of the piece on which she is working.

Opposite page: Transition by Amy Kann (2014), Carrara marble, 19 inches high. On this page, top: Mama’s In The Arbor by Jedediah Morfit (2014), Polymer modified gypsum, 84 inches high; bottom: You Wish by Jedediah Morfit (2012), Urethane plastic, wood, nails, paint, 44 inches high.

20 S C U L P T U R E R E V I E W

Commissioned to sculpt the Brookgreen Gardens 2010 medal on a theme of “The Sculptor,” Kann focused on the art-ist’s calling, titling her work The Calling of the Sculptor. Kann considers sculptor Anna Hyatt Huntington (1876–1973) and Joan of Arc, the subject of the sculpture on which Kann de-picts Huntington working, to be embodiments of having a call-ing. Kann’s subtle narrative reveals a profound admiration of her subject’s calling and life’s work. She implies Huntington’s radiance by showing her on an elevated scaffold in a graceful pose, her profile in an uplifted expression of serene joy remi-niscent of a quasi-religious ecstatic state. Kann brings Joan of Arc into the medal by suggestion only, making her an invisible but powerful presence.

Kann uses implied narrative, leaving certain meanings and intentions unstated and out of view. The long history of tradi-tionally overt narrative in relief sculpture has led viewers to ex-pect literal relationships between relief and narrative. Contem-porary sculptors use that expectation to create mystery and dramatic tension in their reliefs. By tending less to objective recording and more toward ambiguity and purposeful omis-sion, contemporary sculptors offer increased opportunities for deeper viewer engagement and interpretation.

Phot

os: C

ourt

esy

of t

he a

rtis

ts.

Jedediah Morfit’s reliefs explore modern living with wit, hu-mor, elegance, and more than whispers of cynicism. In a se-ries of works he calls Frames, Morfit narrates the perils, co-nundrums, and sometimes joys of contemporary life as he knows it, addressing consumerism, crime, gluttony, love, cli-mate change, egotism, innocence, and guilt. Morfit arranges individual elements sculpted in urethane plastic into dramas fraught with noise and perplexity, presented to allow every ur-ban viewer an almost instant identification with the situations he designs. Tell Me Again How This is My Fault includes a vol-ley of arrows cascading diagonally down among apes, a chair, a tornado hurtling out of a bottle, shopping baskets, and a pig with a man’s head, among other highly symbolic elements that represent challenges faced by multitudes in the present. Titles give a sense of the narrations contained in Frames: Price of

Doing Business, You Wish, Paved with Good Intentions, and Ad

Infinitum refer clearly to a chaotic, inexplicable, head-scratch-ing urban existence in the twenty-first century life that sustains and bewilders at the same time.

Morfit’s larger sculptures reveal a visual storyteller at his al-legorical, narrative best. In Self Portrait with Ambition, a life-size relief sculpture, Morfit uses the characteristics of polymer - modified gypsum to narrate a personal vision quest with which many men can identify. Inspired by the great sculptors he has admired, Morfit moved to larger reliefs as a self-challenge to rise to the communicative power present in works by his he-roes. The figure’s bow and arrow conspire with his exquisitely refined eagle mask to suggest strength of intention and pur-pose, while summer clothing, flip-flops, lack of arrowheads, and a less than heroic physiognomy reveal vulnerabilities he so resolutely intends to overcome by courage, fortitude, will, and by moving forward. Mama’s in The Arbor is Morfit’s femi-nine counterpart. Dressed in fencing gear and wielding a forti-fied épée, Mama wears her mask in the up position to reveal a gaze of utter resolution. Her floor-length skirt is a grape ar-bor, beautiful and fruitful, but Morfit has included instances of nature’s predatory aspect. He narrates Mama as a strong and beautiful force of nature—with a sword.

Sculptor Christopher Smith looked back in time for inspira-tion, to create a most contemporary triptych with a powerful narrative. In Antigone, one of Sophocles’s three extant plays, the title character was the sister/daughter of Oedipus and his mother Jocasta. Antigone’s brothers shared power over Thebes until a quarrel led one to banish the other, who then raised an army and returned to fight a battle in which both brothers were killed. Jocasta’s brother Creon became king,

Continued on page 24

Opposite page: The Sculptor by Amy Kann (2009), Forton, 9 inches high, model for the Brookgreen Gardens medal.On this page: The Baptism of Christ, The Sermon on the Mount, and Christ at Tiberius by Anthony Visco, bronze; in The Catherine Pew Memorial Chapel at Bryn Mawr Presbyterian Church.

Phot

os: C

ourt

esy

of t

he a

rtis

t an

d Ja

ck S

hain

man

Gal

lery

, New

Yor

k.

Ceramic sculptor Suzanne Storer portrays every-day people in her work,

subjects chosen from the popu-lation of Ogden, Utah, her home since 1981. Storer’s portraits and figure fragments in high relief be-gin with drawing, a discipline she considers essential to her process from idea to completed sculpture. Storer’s interest in drawing arose from the excellent eye/hand co-ordination she considers a gift with which she was born. Accom-plished in ball sports as a child, Storer knew early that her interest in making art would overtake her interest in sports. Before transfer-ring to the California College of the Arts in Oakland, where she earned a B.F.A. in 1971, Storer be-came aware of Rudy Autio’s ce-ramics while a student at Oregon State in 1968. Only later, and well into her career did she study his images in order to refine her skills in combining line and form to make her reliefs accessible from multiple van-tage points.

Further studies have in-cluded workshops in figu-rative drawing, sculpture, raku, ceramic glazes, and slab-built figurative sculp-ture, with mentors Paul and Sylvia Davis, Akio Takamori, Colleen Barry, Jim Romberg, and Robert Piepenburg. While intensely studying fig-ure painting with Paul Davis, Storer considered the allot-ted three hours insufficient

LINE AND FORM IN SERVICE TO MEANING:

time to draw a complete figure, so Davis suggested she draw only the portion that moved her. Now, when Storer begins to draw from a mod-el, she looks for the most interest-ing shapes for possible sculpture.

“I learned triangulation drawing from Paul Davis and can now draw all I see as long as I keep my eye/hand coordination tuned by draw-ing daily. I am sometimes amazed by what I didn’t realize I know un-til I need to use it while sculpting,” recalls Storer, referring to the ex-ample of portrait reliefs that cre-ate the illusion of eyes following the viewer’s movement. “I learned how to expand a drawing on a slab from underneath in a work-shop with Akio Takamori in 1988. Woman Vessel III is a direct result from time I recently spent with him at Anderson Ranch Arts Center in Snowmass Village, Colorado. He

persuaded me to focus on high relief.”

Beginning her career as a purely artistic endeavor, Stor-er has moved toward a spe-cialization in creating work that is meaningful to persons who have been marginalized. Her current ceramic reliefs convey the sculptor’s love of humanity without idealization or embellishment. Economy of line and form character-ize her sculptures so that her subjects arrive to the viewer in their purest state. By pre-senting only the subject, free from any confines a back-ground might impose, Storer

Ceramic Sculptor Suzanne Storer

by Wolfgang Mabry

Phot

os: C

ourt

esy

of t

he a

rtis

t, e

xcep

t fo

r bo

ttom

rig

ht: C

ourt

esy

of J

ames

Har

ris

Gal

lery

, pho

to: R

icha

rd N

icol

.

portrays the inherent worth and dignity of her subjects. The Lunch Lady, a high relief ceramic 7 inches deep, is a physical/psychological/biographical portrayal of a cafeteria volunteer at a senior center in Ogden. As with her other subjects, Storer finds the lunch lady’s human-ness in her uniqueness. The beauty of her soul and her absolute worth as an indispensable part of the world come clearly through in Storer’s depiction.

Storer’s studio process involves multiple stages, al-ways beginning with a drawing. On the reverse of an enlarged photocopy, Storer traces essential lines in charcoal and then transfers the charcoal onto a clay slab. At this point she removes the clay around the out-side border of the drawing, then pushes the clay up from underneath and supports the hollows with crum-pled newsprint paper. She then brushes the line work onto the surface in blue food coloring, refining the form until line and form mesh. Referring often to the original drawing, Storer goes back and forth between brushing on the line and working the form. Weeks of drying fol-low before she applies coats of fine terra sigillata slip that will crackle during the first firing at cone 05, ap-proximately 1,900 degrees Fahrenheit. When the piece is cool, she applies what will become the permanent brushwork. In this step, she often finds it necessary to wipe away unsatisfactory lines and reapply them as many times as needed to achieve the unity of line and form she demands. She then stains the crackle surface and fires at cone 2, approximately 2,127 degrees Fahr-enheit. A third and final low firing adds color. Some-times Storer adds post-firing color with acrylic washes, as in Selfie, the artist’s self-portrait.

An inscription under one of Suzanne Storer’s sculp-tures on public display sums up a driving motivation in the selection and treatment (artistically and profes-sionally) of the subjects she portrays: “In honor of the inherent worth and dignity of every person.”

Opposite page, top: Selfie by Suzanne Storer (2015), ceramic mixed media (with acrylic drips post firing), 25 inches high; bottom: The Lunch Lady by Suzanne Storer (2014), ceramic mixed media (acrylic colorants post firing), 20 inches high.On this page, top: Drawing of Woman Vessel III by Su-zanne Storer (2015); middle: Woman Vessel III by Suzanne Storer (2015), ceramic, 12 inches high, bottom: Sleeper in Striped Dress by Akio Takamori (2012), stoneware, clay with underglazes, 8 inches high.

S C U L P T U R E R E V I E W 23

in the sacred events unfolding in their presence. By means of ex-pressive action, gesture, and ex-quisitely rendered faces, Visco implies qualities such as kind-ness, altruism, and brotherhood.

A historic contrast to the mys-tery and suggestion in contem-porary relief sculptures can be seen in Trajan’s Column in Rome, Italy. It describes in exceptional detail the two campaigns of the Dacian Wars that brought Dacia (present day Romania, Moldova, and parts of Serbia, Bulgaria, Hungary, and Ukraine) and its enormous wealth into the Ro-man Empire in the first decade of the second century CE. The

column was made from a total of twenty-nine Luna Carrara marble blocks including the pedestal, column, capital, and in-terior spiral stairway. A doorway in the pedestal grants access to the interior spiral stairway lighted by forty window slits and leading to an observation platform. The lower half of the col-umn depicts the first campaign (101–102 CE) and the upper half recounts the second campaign (105–106 CE). The narration is composed of 155 scenes containing 2,662 figures. Although the column commemorates the Roman conquest and annexa-tion of Dacia, battle scenes are downplayed on the column with emphasis given to soldiers engaged in construction and ceremony, very likely a propaganda tactic addressing the Ro-man citizens’ fear and distrust of the Roman army by narrating history to suggest a war with little collateral damage.

Whatever the era, sculptors have for more than 6,000 years recognized the immense potential of relief sculpture to carry narrative content. Visual terminology has varied from unequivocal specificity to the barest suggestion, with the best sculptors always finding ways to escape the confines of language in favor of the more universal communication only images can achieve.

Wolfgang Mabry writes about art, artists, and the business of art. He has directed galleries in Carmel and Laguna Beach, California, and Santa Fe, New Mexico, where he now sells fine art at a gallery on Canyon Road.

and decreed that Polynices, the banished brother, could not re-ceive a proper burial. Antigone chose to abide by the rule of the gods over the rule of her uncle. She buried her brother and was imprisoned by Creon in a cave. On his way to free An-tigone after a change of heart, Creon discovers that Antigone has hanged herself, and that his son Haemon, Antigone’s fiancé, has killed himself. On receiving that news, Creon’s wife, Queen Eurydice, kills herself. Christo-pher Smith’s triptych, Antigone’s

Dilemma, addresses the theme of a contemporary woman seek-ing power depicted in large panels subtitled Beseeching, Enthroned, and Deposed. Using the sparest of symbolic imagery and the beauty of a strong woman in her prime, Smith narrates complex issues relating to women’s roles, as urgent in antiquity as they are relevant today and tomorrow.

During his studies of nonrepresentational art in Italy, on a Fulbright-Hays Grant in 1970–1971, sculptor Anthony Visco was sufficiently moved by the reliefs of the Ghiberti doors on the north and east sides of the Baptistery of Saint John in Flor-ence, Italy (called the Gates of Paradise by Michelangelo), to change direction and specialize in highly representational, de-votional art, primarily in relief sculpture. His bronze triptych at the Catherine Pew Memorial Chapel of the Bryn Mawr Pres-byterian Church in Bryn Mawr, Pennsylvania, narrates three cornerstones of Presbyterian liturgy: Baptism, Eucharist, and the Word (depicting The Baptism of Christ, The Sermon on the

Mount, and Christ at Tiberius). Visco’s high reliefs include multiple figures, landscape, and

local-color backgrounds to bring immediacy to well-known events that other artists have narrated in painting, sculpture, music, and oratory for the entire two millennia of Christianity. Visco takes great care to include relevant subtexts, showing other participants in period dress and with period accoutre-ments of their work lives and family lives. Elements including heads, arms, palm fronds, furled sails, and others rise above the relief as three-dimensional components, allowing reflected backlight to heighten the illusion of animation or of coming to life. As the central figure, Jesus, goes about fulfilling his unique destiny, Visco portrays the full immersion of the other figures Opposite and on this page: Column of Trajan (113 CE), marble.

S C U L P T U R E R E V I E W 25

Lef

t ph

oto:

Sca

la /

Art

Res

ourc

e, N

Y. R

ight

pho

to: A

lbum

/ A

rt R

esou

rce,

NY.

Continued from page 20

FIDEM, the International Art Medal Federation, exists to promote the art of the medal at international

levels. The aim of the organization is to make medal art known and to ensure recognition of its place among other forms of sculpture.

What is an art medal? It is not an award. It is not an official or military decoration. It is sculpture. It is ART. Sculptors create art medals. Indeed, an art medal is simply a small sculpture. Though to complicate matters, medallic art is not always very small. A medal may exist in the round, or it may be uniface, or it may have an obverse and a reverse. In the modern art world there are no rules. The art-ist creates and, as with all art, a medal cannot be limited by the definition of a word. A medal may be bronze, or it may be made of paper, plastic, glass, wood, or even cloth. The artist decides. Most often, a medal may be held in the hand and may evoke a reality, or may morph to tell of another emotion. Of all forms of art, almost none is more private than the handheld medal. Each is as portable, personal, and pe-culiar as the small netsuke of a Japanese warrior’s sword or the incised decorated disk of a Ro-man lady’s mirror.

A cult of personality and the human ego led to the birth of the portrait medal during the early Renaissance. Men (as well as women) wanted to be noted and remembered. The impor-tance of personal accomplish-ment became paramount. A man’s portrait in conjunction with a symbol to remind others

FIDEM AND THE ART MEDALby Cory Gilliland

phot

os: T

ara

Don

ahue

. Cou

rtes

y of

Med

ialia

Rac

k an

d H

ampe

r G

alle

ry.

Portable, Personal , and Pecul iar

of his station could be offered as a gift. A fifteenth-century Italian artist, Anton Pisano, called Pisanello, found a way to accomplish this and to ensure his patron’s eminence: The Renaissance medal came into being. The genius of this Renaissance court painter of the Gonzaga family, rulers of the Italian city of Mantua, created such masterpieces as those in the Samuel H. Kress Collec-tion now at the National Gallery of Art in Washington, D.C.

The artist’s talent and the use of cast bronze ensured that the object would be lasting, durable, and significant. The first Renaissance medals were cast from original molds made from the artist’s wax models. Additional medals could be replicated from the same molds and then individually chased or hand-tooled to smooth the unintended rough areas. Finally each piece was given a patina to provide color. The possibility for multiple editions added to the popularity of the new art form.

It was not until almost two cen-turies later that new techniques and machinery made possible the struck medal. A mint us-ing the multiple die method for producing coins could strike an edition of a medal and sell to the general public. Machines re-placed almost any evidence of an artist’s hand. The invention of the reducing machine in the nine-teenth century further removed the original work. Over time, the abundant use and distribution of commemorative struck medals gave way to many inferior artistic products. Eventually, mint mas-

Opposite page, top: 1983 Florence Congress (Obv. and Rev.) by John Cook, struck bronze; bottom: Old Sa-tyr With Pipes by John Cook, bronze.On this page, top: Heloise and Abe-land by John Cook, bronze; middle: 1985 Stockholm Congress (Obv. and Rev.) by Merlin Szasz, struck bronze; bottom: Ancestral Tree II by John Cook, bronze.

ters and owners came to realize the need for discussions with each other and with sculptors.

On October 8, 1937, a number of mint owners and friends met together to found the Fédération Internationale des Editeurs de Mé-dailles, F.I.D.E.M. Their first statute states that the group name was to be the International Federation of

The deafening noise of Euro-pean national events reverberated through the voice of art. One med-al from the Dutch firm of Koninkli-jke-Begeer chillingly depicted the effect of war with a woman holding the body of a dead soldier. Each of the plaquettes from the Swiss firm of Huguenin Fréres & Company commemorated the reorganization of the Swiss army and all depicted

Editors of Medals. As it developed, the organization became one of artists, scholars, and patrons inter-ested in the art of the medal and its history. By 1963, the reference to editors in the title disappeared in favor of the Fédération Internatio-nale de la Médailles d’Art (FIDEM).

The first edition of the FIDEM publication, Medailles, appeared in June 1938. This publication re-ported the events of the original meeting and included photographs of medals from the Belgium minting firm of Fisch and Co. The editions from the Mint of Paris contained a medal with the reverse inscription “Television” above the appropri-ate symbol, a subject somewhat amazing for that date! Medals from the Paris firm of Arthus-Bertrand

highlighted a number of profile portraits. A medal sent from the firm Maison Canale as well as one pictured from Arthus Bertrand and Company made use of the multisid-ed form rather than the more com-mon round format. In addition, sev-eral small, multisided pieces were sent from J. Sanne of Lyon. Artists seemed to be looking for diversity.

S C U L P T U R E R E V I E W 27

the French gave way to the ascendancy of the Eastern Eu-ropean artists who are often credited as the true innovators of the modern medal. With their artistic efforts the cast form

resurfaced in importance. Inter-estingly, the inhumane world of the Soviet block medalists constituted the artistic theme. Their governments seemed to ignore and allow the art form. How amazing it is that artistic freedom appears not to have been jeopardized in the case of medal art in these Eastern Eu-ropean countries. Zofia Dem-kowska of Poland is one whose art demonstrates such master-fulness of the cast medal form and its possibilities.

One must mention, however, that medalists in Portugal later found a way to reinvigorate the art of the struck medal. They took the lead in develop-ing this art of cool detachment that stands apart, precise and remote as the machine that struck it.

The March 1960 edition of Medailles mentioned the Direc-tor of the United States Mint in Washington among the honor-ary committee of Mint Direc-tors. United States delegates, however, were not a part of FI-DEM until the 10th Congress in 1963. It was then that a woman museum curator, an immigrant

soldiers in uniform ready for battle. Two issues of Medailles appeared during the second year and three issues in 1939. Af-ter each Congress the lectures and events of the meeting and the medals from the exhibition were recorded in the maga-zine the following year. This remained true until the organiz-ers prepared separate catalogs of the exhibitions.

From the advent of World War II, FIDEM did not recon-vene a Congress until 1947. By the 1950s, the implementation of the primary FIDEM aim was being achieved. Exhibitions of medals were being organized as a way to acquaint the pub-lic with the art form. London played host to an exhibition en-titled “European medals from 1930 to 1955,” published as a book, Exhibition of European

Medals 1930–1955 by the Roy-al Society of Arts, London, in 1955.

The Paris Mint Director Pierre Dehaye realized that with heightened artistic merit profit from the public could be made. He invited well-known artists such as Henri-George Adam, Siv Holm, Salvador Dalí, and André Galtié to design med-als to be struck, exhibited, and sold by the mint.

By the 1970s, the impact of

S C U L P T U R E R E V I E W 29

to the U.S. previously aware of this European medal associa-tion, became the first U.S. dele-gate to FIDEM. Elvira Clain-Ste-fanelli, a curator of the National Numismatic Collection at the Smithsonian Institution, con-tacted artists whose work she knew and asked them to send examples of their medals for exhibit to the FIDEM Congress. It was a one-woman opera-tion without outside committee judging or assistance. French was the official language of FI-DEM and Mrs. Stefanelli, who spoke multiple languages, did well in introducing the U.S. to the European group. The American section of the exhibition, however, often was limited in number of artists and medals. The December 1964 edition of Medailles included both the English and French versions of her lecture dealing with the medal exhibit at the Cleveland Convention of the American Numismatic Association. This English presentation was the first to appear in the FIDEM publication. By the 1990s, as many lectures were delivered in English as in French.

For the 12th Congress in 1966, FIDEM branched beyond the borders of the original member countries to enjoy the city of Athens. In 1969 they met in Prague. By 1971 delegates from Israel, Denmark, Romania, Australia, Canada, Yugoslavia, Czechoslovakia, Hungary, Bulgaria, and Japan had joined FI-DEM. Artists, museum personnel, art historians, and patrons, among others from many points of the globe, met for lectures and discussions about medallic art, for large international ex-hibitions of medals, and for a number of days of rare opportu-nities to experience the social and

cultural delights of the host cities. The organizers of each Congress have the responsibility of finding patrons and pro-viding a most memorable experience for every attendee. The Congress of 1983 in Florence, Italy, might be considered to be among those most memorable.

After the organization of the American Medallic Sculpture Association in New York City in the 1980s, John Cook, profes-sor of sculpture at Pennsylvania State University, and Alan Stahl, curator at the American Numismatic Society (ANS), vis-ited Mrs. Stefanelli at the National Numismatic Collection of the Smithsonian Institution. They requested that she recom-mend them as delegates to FIDEM. This she did. They to-gether served as U.S. delegates for the 1983 Florence and the 1985 Stockholm meetings. It was at the Stockholm Con-

gress that the American del-egates held a social event for all American participants and for all international delegates. The tradition of giving each a gift of the U.S. delegation medal was established with the presentation of the 1983 John Cook bronze and at the 1985 Congress with the Merlin Szosz (1936–2013) medal.

The 21st Congress of 1987 marked the first time in the his-tory of FIDEM that participants met in the United States. With the sponsorship of the Ameri-

can Numismatic Association (ANA), Alan Stahl as U.S. delegate and his vice delegate organized a small committee to plan the Colorado Springs Congress. At the Congress, Mrs. Stefanelli welcomed the group in five languages and Leonard Baskin, the renowned artist, spoke of his own medals in his keynote address. As with all Congress-sponsored after trips, taking Eu-ropeans to the “Wild West” constituted an unforgettable ad-venture. Mico Kaufman created the official FIDEM Congress medal that vividly represents the speed and distance of travel encountered when visiting the western United States. The ANA and Colorado Springs again welcomed FIDEM in 2007.

The organization continues to increase in membership and to expand around the globe with forty nations now participat-ing. The Bulgarian Congress in Sofia (2014) added a Balkan city to the roster of FIDEM Congress sites. Europe beckons again this year with the plan for the next Congress to be in Ghent, Belgium. Medal history, modern medal developments, and over 2,000 exhibited medals will once again be in store for the attendees. A promised highlight will be a visit and a lecture concerning the conservation of the Jan and Hubert van Eyck Adoration of the Mystic Lamb.

FIDEM continues to promote medal art. Medallic artists con-tinue to creatively search for new ways to artistically convey what is important to them and to the unique culture that each represents. Increasingly, society finds meaning in the art of the handheld medal.

Opposite page, top: 1987 Colorado Springs Congress, Obv. and Rev. by Mico Kaufman, struck copper, 2 inches high; middle: Dae-dalus and Icarus by Ivanka Mincheva, cast brass, 4 inch diameter; bottom: Full Moon by Ivanka Mincheva, cast brass, 4-1/2 inch diameter.On this page: Theater V by Ivanka Mincheva, cast brass, 3-1/2 inch diameter.

Medallic art joins both the two and three-

dimensional worlds in one unique visual form,

with a distinctive tactile narrative quality. Medals

often have both obverse and reverse surfaces, which give

their content complexity. They are small enough to be

appreciated by the hand, as if one is holding the entire

idea of the artist.

Medallic sculpture first captured my attention as an art-

ist about thirty years ago. At the time, I had been creating

very tiny work using chips of stone, but had yet to become

aware of medallic art. Since then, I have not only been

expressing my thoughts in bas-relief format, but have also

promoted contemporary medallic art among artists, as

well as to the general fine art audience, by curating and

organizing medallic art exhibitions in New York City, by

forming traveling exhibitions, and offering international

competitions. All the exhibitions and competitions are

based on a particular theme, one that is chosen from cur-

rent social concerns, or by suggesting a positive direction

for the future.

The following introduces a group of medallic artists

whose works have been most influential in the field of

contemporary medallic art. They are all currently, or were

previously, educators. As contemporary medallic art has

developed, its creation is being continually affected by

rapid technical changes and new technologies, many

seen in the work of these artists.

UNITED STATESIn the U.S., the most influential medalist is John Cook (b.

1930). He organized the International Medallic Art Workshop at Pennsylvania State University in 1984, where leading medalists of the time participated. Cook changed the concept of medallic art, and left an indelible impression on the national and interna-tional medallic art world. He changed the role of medal art as functioning in a commemorative relationship to independent fine art work.

THE FASCINATION OF MEDALLIC ARTby Mashiko

Phot

os: T

ara

Don

ahue

. Cou

rtes

y of

Med

ialia

Rac

k an

d H

ampe

r G

alle

ry.

A Dist inct ive Tact i le Narrat ive Qual i ty

PORTUGALWithin the international medallic art field, Portuguese art-

ists have made the most dynamic changes in the discipline by embracing rapidly emerging advanced machine technologies. Helder Batista (1932–2015) was one of the influential and in-ventive medallic artists. He was commissioned to produce nu-merous coins and commemorative medals by the Portuguese mint. Another inventive artist is João Duarte (b. 1951). Under his leadership, the curriculum of the Medal Department at the Uni-versity of Lisbon progressed, establishing a strong foundation for the development of young artists, including international students. During his twenty-six years of teaching, he advanced and created a new curriculum, which covers the technical and historical aspects of coins and medals as well as methods for detecting counterfeit money. He is the founder of the contem-porary medal research group in Portugal.

30 S C U L P T U R E R E V I E W

THE NETHERLANDS Another country applying current computerized mechanical

trends and creating unconventional contemporary medallic art is the Netherlands. The tradition of exchanging medals at celebrations such as births and weddings, and to memorialize a person’s death was a common custom among middle-class citizens beginning in the seventeenth century. The custom still continues in minor ways. In contemporary times, Geer Steyn (b. 1945), who taught for thirty years at the Royal Academy of Art, The Hague, is the current leading medalist in the Nether-lands. Steyn’s work is tactile and spontaneously formed in ter-racotta or bronze. However, current medalists who have been taught by him are not confined to the conventional bas-relief format. They are using a computerized process, sometimes combined with cast bronze.

Another noted Dutch artist, Theo van de Vathorst (b. 1934) is known as a medallic artist with often a playful expression. In 1996, he created the unique 5-meter high pair of bas-relief bronze doors for the fourteenth-century Dom Cathedral in Utrecht, titled Doors Dom Church. It is his greatest work.

Opposite page, top and be-low: 100 Anos Da Associação Dos Bombeiros Voluntários (Obv. and Rev.) by João Duarte, struck bronze and acrylic: right and left: Poet Fernando Pes-soa by Helder Batista.On this page, left: Anticipa-tion by Theo van de Vathorst, bronze; top and middle right: Puccini II by Geer Steyn, bronze; bottom right: In My Garden by Zofia Demkowska.

EASTERN EUROPEPoland: In Eastern Europe, the medallic art field is very

active. In Poland, two artists have been strongly influenced by Zofia Demkowska (1919–1991), who was one of the par-ticipants at the International Medallic Art Workshop orga-nized by John Cook in 1984. She taught for over twenty-

five years at the Academy of Fine Arts in Warsaw. One of her students was Ewa Olszewska-Borys (b. 1942). After graduating from the Academy, she studied engraving in Paris, a similarity she shared with her mentor, Demkowska. She has developed the unique technique of convex relief to express both the depth and immenseness of space. Her concepts have consistently been a powerful influence to other medalists. Another prominent Polish artist, Pawel Leski (b. 1954), learned the technique of medallic ex-pression while studying art in Vienna. After returning to the Acad-emy in Warsaw, he met Demkowska and was influenced by her. In his work, he invokes a deep emotional response to figures, and conveys his concepts in a narrative form.

Hungary: The Hungarian contemporary medal emerged in the 1960s after a half-century of inactivity. One of the core artists in the group of medalists of the new era was Enikő Szöllősy (6) (b. 1939). She applied the medallic art concept beyond the object. In one of her nature series she creates medals to cover a person’s entire palm.

Bulgaria: Contemporary Bulgarian medalists were influenced by other European artists; especially medallic artists from Hunga-ry and Poland. But it was a Bulgarian medalist, Bogomil Nikolov (b. 1943), who initiated the foundation of contemporary medallic art, and who developed the medal art courses at the National Academy of Art, Sofia. After the 1970s, he organized exhibitions and symposia throughout Bulgaria. Since 2004, he has been or-ganizing an annual Internet medal exhibition.

S C U L P T U R E R E V I E W 33

GERMANYDuring World War I, German artists expressed their unsettled

emotions by way of medallic art, as represented by the artists Walther Eberbach (1866–1944), Karl Goetz (1875–1950), and Lud-wig Gies (1887–1966). In contemporary Germany, Bernd Göbel (8) (b. 1942) demonstrated strong political statements during and after the fall of the Berlin Wall, in his most unique series. He uses metaphorical storytelling expressions to depict serious historical events. Throughout his decades of teaching, he encouraged the younger generation to embrace medallic art. In contrast to Göbel, Heide Dobberkau (9) (b. 1929) creates extraordinarily sensitive and delicate depictions of animals, emphasizing movement with linear expression. Her signature style is to work in thin bronze cast with pale blue-green patina and a powder-like finish.

Opposite page, top and middle: Johannes Hevelius (Obv. and Rev.) by Ewa Olszewska-Borys, bronze; right: Landscape in a Hand by Enikő Szöllősy; bottom: Hell (triptych) by Pawel Leski, bronze.On this page, top left: Landscape in a Hand by Eniko Szollossy, bronze; bottom left: Goat by Heide Dobberkau; top right: Invasion by Bogomil Nicolov, brass; center and bottom right: Devide Up (Obv. and Rev.) by Bernd Göbel, cast bronze.

FINLANDFinnish medals are known for their heavy bronze casting.

The most internationally recognized Finnish medalist is Kauko Räsänen (1926–2015). His multipart medals are infused with great sensitivity and depth. The collective segments convey the theme in detail and clarity. Through his many exhibitions and awards from various countries, his strong influence on medal artists is undeniable.

THE BALKANSLithuania and Czech Republic: There are also many strong

medal art traditions among the Baltic States. Their triennial medal exhibitions originated in Lithuania, while under Soviet Union occupation in 1979. The event encouraged young art-ists to express their concepts using the medallic art format. Czech glass-engraving master, Jiří Harcuba (11) (1928–2013) is a most nontraditional medalist. He is known for his techniques in cutting and engraving, creating intricate portraits in glass and finished in bronze. In 1979, he was held as a political pris-oner for designing a medal that condemned the August 1968 invasion of Prague by Soviet troops. His influences are evident as a teacher in both the Czech Republic and the United States.

PACIFIC RIM Japan: In the Pacific Rim, the Japanese medalist, Keiichi

Uryu (1919–1992) was one of the innovative artists in the medallic art field following World War II. He initiated the evolu-tion of the medal format from commemorative functional med-al to a fine art format. Uryu would later introduce the contem-porary Japanese art medal to the European medal community. Throughout his career, he worked on commissioned com-memorative coins and medals, while his own work focused on the pursuit of peace, his central theme after having lived though the tragedy of WW II. One of the younger generation of medalists, Satoru Kakitsubo (1950–2013), studied medal art in Rome. He received various awards during his studies abroad, as well as in Japan upon returning to Tokyo. His ability to ex-press sensitively detailed images with flowing expression was also recognized outside Japan.

ENGLANDEngland has a well-structured program for emerging artists

through the British Art Medal Society. One of the founding members of the Society is Ron Dutton (b. 1935). He is the most influential and leading medalist in the contemporary Brit-ish medal community. Dutton has a unique technique describ-ing the landscape atmosphere, which is like air, light, and color in the bronze.

The medallic art creators featured in this article are

only a handful of artists. There are many more from

around the world—other Baltic regions, Scandinavian

countries, the Pacific Rim, Australia, New Zealand, and

other European countries—whose impact on the medal-

lic art field is just as important. There is a growing and

strong group of young artists who are taking the format

in new and exciting directions.

S C U L P T U R E R E V I E W 35

Opposite page, top left to bottom: Horse Meeting by Heide Dobberkau, bronze; International Women’s Year 1975 by Kauko Räsänen, copper; Marc Chagall by Jiří Harcuba, bronze; top right to bottom: Cloud Diver by Ron Dutton (Obv.); Don Inigo by Satoru Kakitsubo (Obv. and Rev.); Self-Portrait by Jiří Harcuba, bronze.On this page: Exchange Letter (Obv. and Rev.) by Keiichi Uryu.All medals sizes range between 3 and 4 inches diameter.

THE AMERICAN ART MEDAL

by Bev Mazze

Phot

os: H

arol

d J.

T. D

emet

zer,

2010

.

Staggered and inspired by the conceptual , technical , and visual revolut ion.

In 1983, a group of American sculptors saw catalogs

from an exhibition of European medals in Italy. They

were staggered and inspired by the conceptual,

technical, and visual revolution that European medalists

had brought about. Physical boundaries were pushed

every which way past traditional limits. The medium

was not necessarily metal. The iconography was not

necessarily commemorative, or even figurative. In fact,

abstract imagery sometimes challenged the viewer to

decode its meaning.

It was a freeing experience and a challenge to American

medal makers who began to experiment, innovate, and

produce art medals. A look at the high point, several low

points, and the current state of the American medal will

help put these developments in perspective.

Times of High Interest in Acquiring American Medals

In the late nineteenth and early twentieth centuries, Amer-

ican sculptors flocked to art schools in Paris to learn a new

style of relief modeling that was well suited to sculpting por-

trait medals. These medals appealed to the wealthy barons

of industry, and to politicians and socialites who wanted to

visibly and enduringly communicate their images and sto-

ries of success. As commissioning medals became fashion-

able, the art form flourished. It was a textbook example of

what happens when supply and demand are synchronized.

On this page: Time of Terror: 9-11-01 (2001) by Leonda Froehlich Finke, bronze, 19-3/4 inches high. Opposite page: Home-less, Nameless: Medals of Dishonor Series (1993), bronze, 3-1/4 inches high.

36 S C U L P T U R E R E V I E W

As the American economy changed, there were fewer wealthy patrons of the arts and the demand for medals dwin-dled. In the 1970s, there was a surge of interest in acquiring medals as an investment. It was a period of high inflation, and some of the private mints struck commercial quality medals in silver, marketing them as a hedge against inflation. Even small investors bought quantities of the medals as the price of silver rose a precipitous 712 percent. When the silver mar-ket crashed in 1980, and investors discovered their medals were worthless, the resulting backlash effectively destroyed the market for medals.

Hard Times for American MedalsBy the 1980s, there was nowhere to exhibit medals. There

was no tradition, such as still exists in Europe, of commission-ing medals for celebratory occasions both public and private. Two struggling sculptors, Gary Eriksen and Carter R. Jones, frequently brainstormed about how to improve the state of the art, and create interest in and demand for American medals.

In searching for help to change the status quo, the two sculp-tors contacted movers and shakers in the fields of medals and coins who suggested forming an organization of like-minded individuals. John Cook, professor of sculpture at Pennsylva-nia State University, was a major contact because he taught both the art and craft of the medal. Cook was immediately on board with the idea. The final piece fell into place when the American Numismatic Society (ANS) agreed to sponsor such an organization.

1982: New BeginningsIn the fall of 1982, The New York Times published an article

describing the proposed aim of a new organization “to breathe new life into the art of the medal,” and named the time and

S C U L P T U R E R E V I E W 37

place of its first meeting. A cross-section of the medallic art community and numismatic friends trudged up steep creaky stairs to the studio of a working sculptor. While sitting on gild-ed red velvet chairs ‘liberated’ from a local funeral home, the group decided to call itself The American Medallic Sculpture Association (AMSA).

Sponsoring exhibitions—and otherwise educating the public about medals—was voted a key goal of the new organization; educating AMSA members, however, became the first order of business. Many sculptor members were starved for infor-mation, since American art schools no longer taught medal making or relief modeling. AMSA members experienced in sculpting and producing medals held monthly workshops in New York City, the area in and around which most members lived. However, as membership expanded to other parts of the country, the organization became decentralized and the train-ing program was discontinued.

Brookgreen Gardens, an outdoor sculpture museum and wildlife preserve in South Carolina, helps fill some of the train-ing gap by scheduling workshops in medal making that are staffed by master medalists from AMSA. The lack of training by art schools remains a problem, because there is no founda-tion for encouraging art students to make medals. This con-trasts sharply with the ready availability of technical and artis-tic training in Europe. Brookgreen Gardens also has a medals program. It yearly commissions a production run of 1,000 two-sided medals struck in bronze for high-level members.

The Era of InnovationIt was when AMSA leaders like Cook attended the 1983 FI-

DEM Congress in Italy (Fédération Internationale de la Médai-lle) and brought back catalogs, that AMSA became aware of

Phot

os: T

ara

Don

ahue

. Cou

rtes

y of

Med

ialia

Rac

k an

d H

ampe

r G

alle

ry.

how the medal had changed. Sculptor members were first astonished and then inspired to become more adventurous in designing and making medals. Experi-mentation led to successful innovations, a few of which are described below.

Leonda Froehlich Finke found that experimenting in making medals was relaxing after working on large sculptures. It also gave her an opportunity to think about a variety of subject matter. Looking at the world around her for inspiration, Finke was moved to create a series titled Medals of Dishonor Worldwide, which in-cludes Homeless/Nameless. The obverse (front side) of this medal is a huddled figure sleeping in a box. The reverse depicts the loss of personal identity that results from homelessness. In Time of Terror – 9-11-01, the re-verse side of the self-standing medal (an innovation) depicts an agonized reaction to the mass destruction

38 S C U L P T U R E R E V I E W

of human lives by a facial expression of horror, and vulnerable human flesh contrasted, as the artist explained it, with the sharp metal objects embedded at the base of the medal.

Jeanne Stevens-Sollman studied medal making with John Cook. When she became aware of the medals being created in Europe, Stevens-Sollman was inspired by the work of Kauko Räsänen, a master medalist from Finland. Räsänen is known for his interlocking medals of two pieces (four sides) or more. Dog

House in the Wind is Stevens-Sollman’s playful version of an in-terlocking medal. It consists of ten pieces that form a doghouse when assembled, and that deconstruct into a puzzle relief of a dog romping in a field.

Jim Licaretz is a medallic sculptor at the United States Mint who uses computer programs to design and model coins. In producing the 2012 USA FIDEM Delegation medal, he used a 3-D computer program to create the medal’s size, shape, lettering, and design, which he assembled in virtual space after scanning in a female figure from his electronic files. To check alignment of the figures, Licaretz produced a transparent model in physical space. When satisfied with that, he milled the sides of the model and cast resin into the resulting mold.

James Malone Beach creates “medals of honor” inspired by military decorations and reliquaries, which can include fabricated metal frames, found objects, personal artifacts, ribbons, and so forth. When assembled, the medals sometimes honor the heroism of ordinary lives. Sometimes they satirize politicians and political situations or the foibles of daily life. It’s clear from the title, The

Masculine Mystique: the Curse of Casanova, that this medal is satirical. The iconography includes a small vial of perfume labeled “Force,” from which hangs an altered heart-shaped frame with the likeness of Casanova.

S C U L P T U R E R E V I E W 39

Opposite page, left: Dog House in the Wind by Jeanne Stevens-Sollman, variation, cast bronze, assembled, 2-1/2 inches high; right: The Past Watching the Future Appear by Polly Purvis (2015), brass, steel, rubber, 3/34 inches diameter.On this page: American Delegation Medal, XXXII FI-DEM Congress Congress, Glasgow, Scotland (Obv. and Rev.) by Jim Licaretz (2012), resin, 2-1/3 inches diameter.

Polly Purvis is a photographer and sculptor who works with salvaged metals and sometimes embeds a photograph within her medals. The medal shown here was created specifically for a 2015 exhibit commemorating the bombing of Hiroshima. The title of the medal The Past Watching the Future Appear and the event commemorated are clues to understanding the iconography. The photo shows a pale face with a drop of blood looking anxiously beyond a constricting metal band. The body of the medal is made of parts salvaged from a hardware store.

Exhibitions and Awards Today, medalists have numerous opportunities to

exhibit art medals individually or in groups, and to re-ceive awards that recognize individual achievement. Biennial FIDEM congresses are a major opportunity for Americans to exhibit art medals internationally, and perhaps to receive an award. AMSA schedules one or two medal exhibits annually. And, once every two years, the ANS exhibits the medals of a sculp-tor judged by its Saltus Award Committee to have at-tained “signal achievement in the art of the medal.” In 2015, AMSA inaugurated an annual award program called AMY (American Medal of the Year) to recog-nize the most outstanding medal of the previous year. All sculptor members were invited to submit medals made in 2014 for judging. Ironically, the first AMY was awarded to an Australian, Michael Meszaros.

The medal is titled Sic Transit Gloria Mundi (Thus

passes the glory of the world). Meszaros described his medal this way: “My thoughts leading to this de-sign were prompted by the arrogance of so many of today’s leaders and politicians combined with a visit to Rome in October 2013. … Having studied archi-tecture in Melbourne, I am familiar with how many re-gimes over the centuries have tried to cement their political futures with overblown neoclassical archi-tecture. Most of them have collapsed or are much reduced. All these thoughts combined to the design where the ambitious building is on one side and the eventual demise is on the other. I have always liked the idea of a double-sided medal with a time lapse between the sides and it seemed to all fall together. Using the Romans’ own saying for the title shows that even they realized that nothing is forever.”*

*Source: http://www.coinweek.com/coin-clubs/first-american-medal-of-the-year-award-winner-announced/

NewFigure Sculpting Book

by Philippe & Charisse Faraut

PCFStudios.com

PO Box 722Honeoye, NY 14471585-229-2976585-229-2865 fax

Topics Included:*Anatomical Diagrams*Step-by-step Demos*Creating Small Sketches*Life-size Sculptures*Complex Hands & Feet*Rhythm Lines & Curves*Exercises in Planes*Firing & Finishing

Hardcover Book, 230 p. with 700 photographs.

The Giust GalleryCollection of Caproni Casts

Historic Museum-Quality Casts for Anatomical Study, Reference & Decoration

www.giustgallery.com orders@giustgallery.com

105 Salem Street, Woburn, MA 01801Phone: 781.933.2455

CLASSIFIED ADSBLACKPEARL SOAPSTONE—Guaranteed—No faults—

��������������� ����������������������������

����������!������"#��$���%���#�&� '��"#�()#��������

***�+���������������"���,��'"-�.+���������������"���,

***�-��+������,/+���������������"�

CUSTOM CASTING0��,����1�����" 2����"3#� 4��"#�

)��,'"�,5���� 6�%#� ���,'�� !���#� !�" � &�� �#� 7�+�

+��&�� �����"��'3 �!�8'����� ����"�+����'����0��

��',����� &)9��)!:#� ��$�� ��%� ���#� ;���"�#� 4)� ���<���

:����"� �=>����������� ('�'��� ***�,�%��������,�� 0�%�

�=>������=���

ENLARGEMENTS OF SCULPTURE��� �"?� �'3��)��

������������'���-��,��'-���������@�������)���'�������� ���

���'8�*���#� '"��� '"@���'-���6' �%��'"�� '"����������

��8'����),����" ��������'8���� '�������'"�+���'-���:���

��"�������" '"@���A4)��)75$��B7)::4#�('������ '���8��

��#����<���'�����"���C5BD#�4���?��:����==��>�C���<D��>���>#�

0�%���==��>����<���<�=<����,,�"'���'�"��'"�E"@�'���*��

��,��E�,�'���@'�"������+�����'.�'"�'��

335 W 38th St, 4th fl, New York, NY 10018www. medial iagal lery .com

(212)971-0953Wednesday - Saturday, 12-6pm or call for an appointment

Rack and Hamper Gallery

C o n t e m p o r aa r yyyyp yy MM MMMMMMMMe de de de de de dee a la laaaa sssE xE xE xEE x h ih ih b ib ib ib i t it it it it o no nooo sssCCCC aCCCCCCCCCCCCCCCCCCCCCCCCCCC t at at at a l ol olll g uuuug ug uug e se se se se seWWWoWoWWoWW r kkrrr s hs hs hs hs hhs hhhhhhhhhs oooooooo pppppppoo ppppppp ssssssssssssssssssssssss

EsEsEsEsEsEsEssEsEsEsEsEEE tatatataaatablbblblb isishehedddddd i i inn 11999999 333

PATINA WORKSHOP

MAY 5, 6, and 7, 2016 For information and registration

visit www.patrickkipper.com

Over 100 traditional and contemporary pati-

nas will be demonstrated and/or discussed.

Patina facilities, health factors, bronze con-

servation and restoration, and many other

topics associated with

the art of patination will

also be covered.

Patrick is internationally

known for his expertise

in the art of bronze pati-

nation and fine art con-

servation as reflected in

over 35 years experience

in both fields, giving

him one of the largest

patina palettes known.

He is also the author of two award winning

best selling art books, “Patinas for Silicon

Bronze” and “ The Care of Bronze Sculpture”.

Patrick restoring

Henry Moore’s “3 Vertebrae”

EXPERIENCE SCULPTURE AT

GREEN-WOOD.COM

“Precious Georgie” Marble bas-relief by Charles Calverley FNSS, (1833-1914)Born in Albany, New York, sculptor Charles Calverley completed more than 250 busts, medallions, tablets, and statues during his lifetime. His works in Green-Wood Cemetery include a sculpture of Elias Howe, a fine portrait bust of Horace Greeley, and this marble cameo, his specialty, of “Precious Georgie”. It memorializes four year-old George Sidney Cuyler, a twin, who died of scarlet fever in 1868. “The one shall be taken and the other left” (Matthew) is inscribed on the base. The sculpture was restored in the spring of 2015.

Photograph by Art Presson Calverley portrait by Charles Loring Elliott (1812-1868) with permission from the Albany Institute of History & Art.

Ph: 772-210-6124Fax: 844-287-5044

SculptureHouse.com

� CLAY MODELING

� ENCAUSTICS

� STONE CARVING

� WOOD CARVING

� CERAMICS

� MOLD MAKING & CASTING

TOOLS & MATERIALS FOR:

A Tradit ion in Excel lence!

RANIERI SCULPTURE CASTINGA Half Century of Craftsmanship | Offering Complete Service

ROBERT LONGOThe Heretics, 2013 Mold-making: waste | silicon | rubber

Casting: plaster | wax bronze bonded bronze | bonded stone | bonded alluminum | monzini | marplex | aqua-resinSpecial Services: life castings | patinas | enlargements | restorations | ornamental moldings | custom bases

Domenico & Raffaele Ranieri27-01 47th Ave., Long Island City, NY 11101T. 718.752-0167 F. 718.472.9607

Five Heretics after Goya's painting, A Procession of the Flagellants, 1812-1819Cast Bronze with a Terra Cotta finish, leather, wood, custom made wooden base

93 x 41 x 24 - 1/4 inches

“SOLITUDE”

GARDEN SCULPTURES by

Tuck Langland

www.tucklangland.comTuck12@comcast.net

Cell 574-360-7946

Pho

to b

y th

e ar

tist

.

Antony & Cleopatra (prelude to double suicide), J. Beckstrom

IN ALL THE E-BOOKSTORESPaper copies available at the Palette & Chisel Academy,

Chicago

BEFORE READING “THE NEW WAY TO SCULPT” IN

beckstromgallery.com

DON’T SCULPT SNAKES IN BOXES

OR ELABORATE CLOTHES . . .