Photograph Credits

Potts, Alex

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Photograph Credits

Alex Potts

The Sculptural Imagination: Figurative, Modernist, Minimalist

Photograph Credits

Author

Alex Potts

PublisherYale University Press

https://doi.org/10.37862/aaeportal.00156.015

Stable URL: https://aaeportal.com/?id=-14743

Photograph Credits

Archivi Alinari 23, 24, 28, 35; Peter Bellamy 158; courtesy Louise Bourgeois 159; Dan Budnik, courtesy Woodfin Camp and Associates 78; Balthasar Burkhard 165; Rudolph Burckhardt 13, 102, 103, 109, 118; Geoffrey Clements 93, 138, 150; Photograph © 1999, The Art Institute of Chicago, All Rights Reserved 142; Alan Finkelmann 156; Photographs by David Finn 22, 25, 26, 29; Getty Center, George Stone Collection 20, 21; Photo John Goldblatt 92; Niedersächisches Landesmuseum, Landesgalerie, Hanover 2; Courtesy the Donald Judd Estate 101, 110, 121, 122, 123, 130; Krefelder Kunstmuseum, Photo V. Dohne 139; Courtesy of the Anthony d’Offay Gallery, London, 1, 41, 98, 154, 155; Photo Dave Morgan, London, courtesy Lisson Gallery 6, 7; © Tate, London 2000 51, 62, 63, 77, 81, 82, 91, 134, 141, 164; Tate Gallery Archives, London 57; MMK/Robert Hausser 132, Archivio Ugo Mulas, Milan 85; Peter Moore 157; Courtesy Leo Castelli Gallery, New York 104, 112, 118; Courtesy Paula Cooper Gallery, New York 5, 131, 133, 137, 140; Photograph by David Heald © The Solomon R. Guggenheim Museum, New York 52, 105; Photograph © 2000 The Museum of Modern Art, New York 50, 53, 100, 120, 151; Museum of Modern Art, Oxford, photograph by Chris Moore 119; © Musée Rodin, Paris 3, 32, 37, 38, 40, 42; © Photo RMN 27, 43; I.C.C.D., Rome 19; Photo Stefan Erfurt, Wuppertal, Courtesy Richard Serra 8, 9; Photo Gordon Matta-Clark, Courtesy of Richard Serra 107; Courtesy Richard Serra 94, 95, 99; Télimage 60; V & A Picture Library 11, 12; © ND-Viollet 15; © Roger-Viollet 17, 47, 48; David Ward 45, 46; © 2000 Kunsthaus Zurich. All Rights Reserved 33.

Copyright Bylines

© AD AGP, Paris and D ACS London 2000 4, 49, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 81, 82; © Carl Andre/VAGA, New York/DACS, London 2000 5, 96, 131, 132, 133, 134, 135, 136, 137, 139, 140, 141; © ARS, NY and DACS, London 2000 8, 9, 13, 93, 94, 95, 99, 100, 102, 103, 104, 105, 106, 107, 108, 111, 116, 120, 125, 126, 162, 163; © Louise Bourgeois/VAGA, New York/DACS, London 2000 156, 157, 158, 159, 160, 161, 166; © Alan Bowness, Hepworth Estate 75, 76, 77; © DACS 2000 1, 53, 54, 55, 56, 60, 97; © Estate of Donald Judd/ VAG A, New York/DACS, London 2000 101, 109, 110, 117, 118, 119, 121, 122, 123, 124, 127, 128, 129, 130; © Estate of David Smith/VAGA, New York/DACS, London 2000 78, 79, 80, 83, 84, 85, 86, 87, 88, 89, 90, 91; © Estate of Robert Smithson/VAGA, New York/DACS, London 2000 138; © Man Ray Trust/ADAGP, Paris and DACS, London 2000 60; © Succession Marcel Duchamp/DACS 2000 57, 58, 59; © Succession Picasso/DACS 2000 50.

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Book details

BOOKThe Sculptural Imagination: Figurative, Modernist, Minimalist

Alex Potts

https://doi.org/10.37862/aaeportal.00156

Stable URL: https://aaeportal.com/?id=-14728

In the modern period, sculpture has often been viewed as more limited, more literal, and also more primitive than the “leading” visual art: painting. But precisely because of its marginal status, Alex Potts points out in this stimulating and original book, sculpture has played a complex and intriguing role in modern ideas and fantasies surrounding visual art. Potts explores the special qualities of sculpture as a free-standing three-dimensional entity, and he considers the distinctive demands sculpture places on the viewer.

The book begins in the late eighteenth century, when a systematic formal distinction began to be made between painting and sculpture. Following changing attitudes toward sculpture through the nineteenth and twentieth centuries, Potts analyzes for the first time the radical transformation that has occurred not only in the nature of sculptural works but also in their display and reception. He focuses on a broad range of texts by major writers who have in some way been obsessed by sculpture and by such artist-theorists as Adolf Hildebrand and Donald Judd. The author also offers a detailed view of selected iconic works by key players in modern thinking about the sculptural. The impact of minimalism features prominently in this discussion, for it placed the phenomenology of viewing three-dimensional objects for the first time at the center of debate about modern visual art.

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Author

Alex Potts

PublisherYale University Press

Print publication date January 2001 (in print)

Print ISBN 9780300088014

EISBN 9780300229615

Illustrations 168

Print Status in print

Publisher (in print)

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