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拍品专文
For nearly 35 years, Mark di Suvero has been performing the alchemy of transforming discarded metal and cast-off industrial material into configurations of elegance and strength that stand in the company of David Smith and Richard Serra to define American industrialized sculpture.
In the standing mobile sculpture, Untitled, 1980, the artist works in just over human scale, abolishing the "do not touch" rule of art, and inviting the viewer to engage the work, to physically and poetically put it in motion. Untitled not only appears to simulate human posture and gesture, but also calls to mind the elements of modern machinery as seen in the large wheel as base. This juxtaposition addresses the symbiotic relationship between man and machine. This work also reminds the viewer of the bold, sweeping gestures of Abstract Expressionist painters such as Franz Kline and Willem de Kooning. Di Suvero once stated, "my sculpture is painting in three dimensions" (J.K. Monte, Mark di Suvero, New York, 1975, p. 13).
There is clear and present optimism to this work. Untitled dances, seemingly in celebration of its transformation from wreckage to art. Mark di Suvero, whose personal optimism triumphed over the near fatal accident that left him in a wheelchair in 1960, explained the goal of his art is "to give us the energy of hope, the embrace of paradox, the overcoming of despair" (I. Sandler, Mark di Suvero: Storm King Art Center, New York, 1995, p. 45).
In the standing mobile sculpture, Untitled, 1980, the artist works in just over human scale, abolishing the "do not touch" rule of art, and inviting the viewer to engage the work, to physically and poetically put it in motion. Untitled not only appears to simulate human posture and gesture, but also calls to mind the elements of modern machinery as seen in the large wheel as base. This juxtaposition addresses the symbiotic relationship between man and machine. This work also reminds the viewer of the bold, sweeping gestures of Abstract Expressionist painters such as Franz Kline and Willem de Kooning. Di Suvero once stated, "my sculpture is painting in three dimensions" (J.K. Monte, Mark di Suvero, New York, 1975, p. 13).
There is clear and present optimism to this work. Untitled dances, seemingly in celebration of its transformation from wreckage to art. Mark di Suvero, whose personal optimism triumphed over the near fatal accident that left him in a wheelchair in 1960, explained the goal of his art is "to give us the energy of hope, the embrace of paradox, the overcoming of despair" (I. Sandler, Mark di Suvero: Storm King Art Center, New York, 1995, p. 45).