Inside the warm dark of a hive, sculpture begins with a surface, a cavity, or a frame left open to a world that moves by scent, temperature, and collective instinct. The artist may prepare the form, coat it in wax, place a queen at its center, or set an object among thousands of workers, but from that point the work starts to belong to a different order of making.
The bed becomes a site of creation, desire, and condemnation, exploring the shift of procreation to hedonism that exposed deep cultural anxieties surrounding female sexual agency and autonomy.
"This sculpture creates a friction with the surroundings here in New York. It's not sleek like everything else you can see here. It offers a hint to the public that temporality is not necessarily a straight line, that things can come back almost like in a wheel."
Marsden's introduction is very lucid, setting out the development of sculpture at court; royal involvement with sculptors; displaying sculpture in galleries, state rooms, libraries and gardens; and stewardship of the collection.
Pilar Zeta builds environments like dreams that feel like stepping into a thought mid-formation. Her sculptural works take shape in the form of portals and objects that invite direct engagement, as visitors are invited to walk through them and notice subtle shifts in perception.
"It's bizarre to watch people in this way - even in gay cruising areas you wouldn't stare at other bodies this intensely. Now, whenever I go to a concert, especially at the Berliner Philharmonie with its encircling seating, my gaze hovers over the audience as well as the stage."
When I finished art school, I thought I was going to do monumental sculpture, big works, and I did for a while. But what I started loving the most-actually always loved the most-was the start, where you figure out what you want to say.
"In a time of unprecedented division, escalating conflict, and economic turmoil, President Trump focused on what truly mattered: remodeling the Lincoln bathroom in the White House," reads a bronze plaque affixed to the work.
Robert Therrien's 'Under the Table' is a 10-foot-tall sculpture that captivates visitors, inviting them to experience its scale and intricacies from below. The piece exemplifies Therrien's ability to transform everyday objects into monumental art.
By installing my sculpture Vertical Highways V03 in front of Rockefeller Center, I want to initiate a dialogue of art and architecture that resonates with the urban history of New York City.
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