Constantine Brancusi
I found it very difficult to find information on Constantine Brancusi in hard copy, therefore, you will see at the end of my paper that all of my sources are websites. The little information I did locate on the artist was very, very little. Therefore, I combined the small amount of information with some research I found on artists that were strongly influenced by Brancusi.
Brancusi's imprint on contemporary sculptural practice ranges from the dissemination of furniture-oriented sculpture and the emerging topos of architectural folly to new paradigms for public art. At the same time many postwar artists engaging in a dialogue with his legacy have read and productively misread Brancusi's work. Through the violent but fecund gesture of subjective intervention, these artists have extracted from it new practices of far greater critical and historical significance than might have resulted from an objective, historicist approach.
After his death in 1957, renewed interest in Brancusi occurred first and foremost in the United States. The Endless Column and many of the artist's bases and furniture pieces, such as his working tables and stools, proved to be relevant to the concerns of U.S. sculptors who came to prominence in the 1960s. In particular, Carl Andre, Donald Judd, Robert Morris, and Richard Serra grew specifically interested in the structural makeup of the column based on the cloning of a single, identical unit. Its repetitive, modular, and nonhierarchical morphology provided them with an economical way of circumventing the relational orders of mainstream European art.
The public works of Scott Burton and Martin Puryear have contributed not only to the ongoing debate between high art and utilitarian design, but also to a heightened awareness of art's social function. Like the Russian Constructivist, Bauhaus, and De Stijl practitioners before them, or the generation of furniture sculptors succeeding them, Burton and Puryear both considered that art should serve society as design and architecture do. Burton's and Puryear's mutual interest in Brancusi's art-cum-craft background is also shared by Richard Pettibone, who has signaled a connection between Brancusi's aesthetic and that of the Shaker community.
Pettibone is a pioneer of appropriation art, yet, unlike other artists of his generation who have denounced ...
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...le in order to maintain its tenor even in the absence of the artist's performative acts. Although “Disneyesque” in spirit, Sachs's version might in the end have pleased his predecessor more than one thinks. If Brancusi's perennial experimentation with mobile groups and with the concept of social environment functioned as a source of inspiration for the contemporary situation, then one function of art today is to keep his legacy going. When I say, “keep it going,” I mean by continuously reframing it in relation to the changed conditions of the world and in ways congenial to art's reflexive strategies, ranging from playful allusion to demystificatory critique.
In conclusion, I was very happy to learn about the strong influences that Constantine Brancusi has had on modern sculptors and their work. I feel that as a result of doing this research paper I have become very knowledgeable on Brancusi’s style. I feel confident enough to say that I may very well be able to recognize Brancusi’s influences on modern sculpture in future visits to museum and galleries. Thanks!
WORKS CITED
www.artic.edu
www.infoplease.lycos.com
www.artthought.com/sculpture
www.fortunecity.com
At first glance, the pottery appears to be somewhat simple but it does have a unique appeal. The calm, innocent, and humble appearance while in a painful moment is unprecedented, and it was enough to let the viewer admire and fall in love with this sculpture and its meaning. The distinctive character of glazed terracotta is the smooth, bright, often polychrome cover that has largely contributed to the success of such artifacts, and which recalls, in its plastic compositions, the works by Verrocchio and Filippo Lippi. However, Giovanni‘s art in this sculpture is elegant, remarkable, and a mix of the sophisticated religious themes with antique mannerisms and with the monumental emphasis.
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Turner, Jane. "Bellini, Giovanni." The Dictionary of Art. Vol. 3. New York: Grove, 1996. 657-68. Print. This book provided a wealth of knowledge and information regarding everything involving the artist Giovanni Bellini. The information was extremely detailed and was used in writing both the biography and analyses.
Watson, J.C., & Gellar, S.M. (2005). The relation among the relationship conditions, working alliance, and outcome in both process-experiential and cognitive-behavioral psychotherapy. Psychotherapy Research 15(1-2), 25-33.
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Stickley,T. & Freshwater, D. (2006). “The Art of Listening to the Therapeutic Relationship” Journal of Mental health Practice. 9 (5) pp12 - 18.
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