Narrative in Relief Sculpture

NARRATIVE IN RELIEF SCULPTURE

SPRING 16 Vol. LXV No. 1

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WRIGHT BROTHERS ABRAHAM LINCOLN GEORGE WASHINGTON WHAT’S ALL THIS ABOUT FAIR USE? by David Wolf

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.

air use makes permissible what would normally Jamaica. The book sold fewer than 7,000 copies, and Cariou Fbe considered to be an infringement of copyright. made less than $10,000 from it. Depending on what you’re doing as an artist, fair use Richard Prince came across the book and used many of can be considered to be either an asset or a danger. If you’re Cariou’s photographs with varying alterations to create art-

COPYRIGHT in the process of creating a sculpture or other artwork, fair works that were ten times or more the size of Cariou’s book, use may permit you to make use of the creations of other and sold a group of eight of them for $10,480,000. Some- artists without first having to get their permission, or even times Prince altered a Cariou photograph so much that it giving the other artist credit—which may in any event be a was almost completely obscured, or took headshots from a good thing to do. On the other hand, if you are that other Cariou photograph and pasted them on images appropriated artist whose work has been used without permission, you from other sources. Other times he only painted “lozenges” may consider fair use to be legally sanctioned theft. over the subject’s eye and mouth or pasted a picture of a Fair use has traditionally been applied most commonly to guitar on the image. activities that involve scholarship or criticism. It allows the Cariou sued Prince and claimed that thirty of Prince’s works writer of a biography of an artist to use some quotations or infringed the copyrights in his photographs. The trial court re- images from the artist’s work, or a book reviewer to quote a jected Prince’s defense of fair use and ordered him to deliver few lines from a book of poetry being critiqued. all the unsold copies of his work to Cariou to destroy, sell, or The fair use doctrine has also been applied to permit artists otherwise dispose of. The judge based her decision on the to use portions of others’ copyrighted works with impunity. finding that Prince’s work was not “transformative” because This is the area where many of the controversial decisions it did not “comment on, relate to the historical context of, or have been made. critically refer back” to Cariou’s photographs. The rules on the application of fair use are in Section 107 Prince appealed, and the Second Circuit court, making its of the Copyright Act that has a nonexclusive list of factors own judgment on the works, reversed the first decision. Find- that must be used in deciding whether a use is fair. Those ing that the district court took a too restrictive approach, the factors are (1) the purpose and character of the use, includ- Second Circuit asked whether the new works altered the orig- ing whether the use is commercial or for nonprofit purposes; inal with “new expression, meaning, or message.” The Court, (2) the nature of the copyrighted work; (3) the amount and with one of the three judges dissenting, held that all but five substantiality of the portion of the copyrighted article used; of Prince’s thirty works were “transformative” because they and (4) whether the use will have an effect on the market had a “different character” than Cariou’s photographs and for or value of the copyrighted work. Many courts apply the presented images “with a fundamentally different aesthetic,” first fair use factor—the purpose and character of the use—by comparing Cariou’s “serene and deliberately composed por- evaluating whether the alleged infringing work’s use of the traits and landscape photographs” with Prince’s “crude and copyrighted work is “transformative,” and this often becomes jarring” and “hectic and provocative” works. the focus of the entire decision. Cariou v. Prince is a controversial decision, like many oth- These “fair use factors” are very broad and can be applied ers in this challenging area of the law. And while it deals with in many different ways. And if a trial court judge’s decision photographs and paintings, the standard the Court uses to on a fair use question is appealed by the losing party, the evaluate fair use—whether the new work has “a fundamen- three judges in the appellate court will then make their own tally different aesthetic”—would apply to fair use disputes decisions based on what may be very different impressions involving any other creations that can be copyrighted, includ- of the case. ing sculptures of any size. A case in point is the 2013 decision by the Second Circuit This article will hopefully be of interest to readers, but it does not Court of Appeals, the federal appellate court in Manhattan, provide legal advice applicable to a particular situation. 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 David Wolf is an attorney practicing in New York City and in Kent, portraits and landscape photographs that he had taken over Connecticut. a six-year period when he lived among the Rastafarians in More copyright mysteries to be unveiled in the next article.

4 SCULPTURE REVIEW NARRATIVE IN RELIEF SCULPTURE CONTENTS

Interview with Guest Curator Eugene Daub

Gordon Alt 8

Narrative In Contemporary Relief Sculpture

Wolfgang Mabry 16

FIDEM and the Art Medal: Portable, Personal, and Peculiar 8 Cory Gilliland 26

The Fascination Of Medallic Art

Mashiko 30

The American Art Medal

Bev Mazze 16 36

26 30 36 and 2006. issue shouldhave been and the The photocreditforthe Erratum inWinter2015: Register onlineat:w As anAssociate,youwillalsohavetheopportunitytoparticipateinm sponsored bytheSociety. A ( ■ ■ ■ ■ National SculptureSociety We encourageourreaderswhoaresculptorstoconsiderthismembershipcategory. Society asan The NationalSculptureSocietyinvitesyoutojointheranksof $90/one year International; $240/three years International - U.S.fundsonly $90/one yearInternational;$240/threeyearsInternational- G A B N it’s goodtobelong... c i r S m c a S e n e o s t s n x s t , t h a o h Shark Mask i N l b w y i p a S t i r S o The benefitsofA r d a o n s f , p r e a c s A r h s n o i s w i d o s v s p w c n e o e s . a o n c c l m t n a u i s t a p s s i e o e o e w t sculptureonpage13oftheWinter 2015 s n t c e i s i a t l a . i e l o t s t e n t c e

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/ o o o sculpture onpage12 n C n s e o t y m o e p a m a r ; u r $ t n i 1 c m i t i 9 y p a a ). 5 a a n g / t t a r y e h e o z i a r i n e n t o h e N e y f e N r S e p S a S a r r S s o w . c g t r i e v a b i m t s i i e t s e s by AnthonyVisco; bronze withoil-basedpigments,84-1/2inches high; Casanova Message totheWorld REVIEW SCULPTURE 6 Table ofContents:8- Letters totheeditor:Pleasewrite the lossofanyissue. postmaster doesnotforwardthismagazinesubscription.We arenotresponsible for CHANGING ADDRESS? 75 Varick Street,Floor11,NewYork, NY10013. tion correspondenceto Sculpture Review scription $150.00 forthreeyears(AirMailLetter Post only).Thisissueof sues). InCanada,$8.95/copy. InEurope,8.00 Euro.Internationalsub- Per copyintheU.S., $6.95,subscription $68.00 forthreeyears,(12is- Sculpture Review Cover: NY 10002. wise. All contents©NationalSculptureSociety, Inc.(NSS),unless at Utica,NewYork, mailingoffices. PrintedintheUSA. 764-5645. Fax:212-764-5651.www.nationalsculpture.org. Third-classpostagepaid ture Society, Inc.,75Varick Street,Floor11,NewYork, NY10013.Telephone: 212- a not-for-profitmembershipcorporationestablishedin1893. is NSS and donotnecessarilyreflecttheopinionofNSSoranyitsmembership. Opinions expressedin

Alec, MySon by JamesMaloneBeach(2015).

26 - (ISSN0747–5284)ispublishedquarterly isindexed byEBSCOPublishing.Addressallsubscrip- Publisher: www.SculptureReview.com Kite by SuzanneStorer byBogomilNikolov;

Mujer Pegada SeriesNo. 6(Cast2/4) Pleasenotifyusthirtydayspriortochangingaddress—the by IvankaMincheva,castbronze, 4-3/4incheshigh; www.nationalsculpture.org Editor-in-Chief/Art Director Copyeditors/Proofreaders Michel Langlais, Photography Consultant Dan Ostermiller, Sculpture Review Rebecca A.G.Reynolds Production Consultant Sculpture R Spring 2016 Neil Estern, Circulation Director Carol S.Halberstadt Margaret Nicholson Elaine M.Alibrandi NationalSculptureSociety Financial Advisor Managing Editor Executive Editor Wolfgang Mabry Sisko, Editorial Board Germana Pucci Giancarlo Biagi Elizabeth Helm Guest Curator Tuck Langland Mariana Cook Robin Salmon Richard Blake Eugene Daub Jodie A.Shull Gordon J. Alt Staff Writers Hans Kraus Jill Burkee Hiram Ball Sculpture Review Lee Hutt ( Chairman 2012), ceramic,mixed media,21incheshigh. • • eview 36 - Emeritus Ex-Officio Emeritus TheMasculineMystique:theCurseof arethoseoftheindividualauthors , NationalSculptureSociety, 16 - , 56Ludlow Street, NewYork, The SermonontheMount by ManuelNeri(2006), expressly statedother- bytheNationalSculp- 30 -

Front cover photo: Courtesy of the artist. Right photos: ©2016 Artida; center: Courtesy of Washburn Gallery, NY. POINT OF VIEW sidewalk along sidewalk along the corner of 40th Street and embedded in the embedded in the Park. If you have If you have Park. building portraits building portraits time, stop and stop and time, bronze bas-relief bronze bas-relief look around. You look around. You feet will slide over feet will slide over will see the actual will see the actual New York City—your City—your New York building that the bronze building that the bronze of our new Babylon— Medal For Dishonor- Bronze reliefs by Gregg hand, through the streets hand, through the streets relief you are stepping on is relief you are stepping on is As you rush, smart phone in phone in As you rush, smart by David Smith (1938–1939), cast portraying. This scene reminds me portraying. This scene reminds me clockswise: ; Giancarlo Biagi Giancarlo of Plato’s cave: Reality is around us, but we us, but we is around cave: Reality of Plato’s meta- are blind to it, our vision obscured by a in my point of view. phorical shadow, On this page, center: Diplomats 10-3/8 inches diameter; as an artist of bronze, he did a series of medals on the same the WPA, theme existence, its size in service to the individual, individual, size in service to the its existence, mori. In 1938, Da- who carries it as a memento many protégés of this vid Smith, one of the sculpted a series of medals “New Babylon,” he became king of Soon after, of dishonor. his work reﬂect- the era of abstract sculpture, steel construction—new ing the fast pace of abstracted by monu- towers of the new cities have shocked the an- mentality that would and pyramids. cient builders of temples assisted by James Owens (1996), that LeFevre celebrate the rich architectural heritage of the commercial properties in the Grand Central district. Partnership

BILLBOARDS AND AND BILLBOARDS “POCKET CHANGE” CHANGE” “POCKET

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

As civilizations such as the Hittites, as the Hittites, As civilizations such an object one change”: a medal, “Pocket

dos. Pigments wash away unless protected away unless protected dos. Pigments wash scratches and carvings in caves, whereas Outlining the images withstand weathering. were the beginnings and modeling the forms we are moved by their of bas-reliefs. Today, and simplicity. power, beauty, and Babylonians, Phoenicians, Egyptians emerged, their “billboard” reliefs ad- con- vertised power, quest, deities to They in- worship. form, instruct, nar- and advise, rate, decorate with precision and wisdom. Walk- ing the streets of Babylon, we are overwhelmed: Only the blessed could touch, and ex- carve, press the wealth of the God these In our “New Babylon,” ruler. of carvings have been replaced by a frenzy im- kinetic art, a multitude of moving billboard turning on and off ages with billions of pixels on command, the blinding force of our tech- nological achievements. When our art critics, fu- can touch and handle. state, eled by convenience and sponsorship, for painter no longer paints with a brush,” “A 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 B INTERVIEW WITH GUEST CURATOR, EUGENE DAUB by Gordon Alt

A: This issue of Sculpture Review features Relief GSculpture. Why is it a unique form of sculpture? ED: Through every major artistic period, relief sculpture 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 medium have been uniquely continuous. One of the powerful aspects of relief is its relationship to narrative. 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. Left photos: Lee Fatherree. Courtesy of Hackett/Mill, San Francisco. Right photos: Courtesy of the artists. mat. Thereis some- than alargerelieffor- is moreaccessible range ofcreativitythat medals enablesa The smallerscaleof equally challenging. both ofwhichare architectural relief, medal oran18-foot work bothona3-inch many opportunitiesto of scaleoffersme of media.Thisrange scale andinavariety in asmallorheroic can choosetowork or lowform,andI cuted inhigh,middle, and balancethoseelements.Areliefsculpturecanbeexe- combination ofallthree, thesculptorcanchoose, compose, takes thebestofdrawing,painting,andsculpture, andinthis evolving inverydifferentdirections. globular sculpturalforms.Bothartistsareworkinginrelief, but linear elementshavealyricalrelationshiptoher‘pillowy’and in starkcontrasttoSuzanneStorer’s ceramicworks,wherethe practiced byAnthonyViscoinhisbiblicalnarratives,whichis and contrastisseeninthecomplextraditionalstyleofrelief ing pairofartiststolookatwhoexpressanincrediblerange the present”asyoujustindicated? ED: I,personally, enjoyworkinginreliefbecausetomeit GA: ED: IncontemporaryAmericanreliefsculpture, aninterest- GA:

What excites youaboutworking inrelief? Can yougivesomeexamples ofreliefevolving“into are ManuelNeri,TimothyWoodman, andSuzanneStorer. They novative workinlarger-scalerelief? enhancement ofpublicbuildings. which hasbeenamissedopportunityforthedecorationand styles havenotbeenfriendlytothiskindofreliefsculpture, part ofthearchitecture. Theensuingmodernarchitectural were muchmoreinclinedtouseintegratedreliefsculptureas tious publicbuildingsintheUnitedStatesupthrough1940s to takegreaterrisksatthisscale. intense focusanddistillationoftheidea,Iammorewilling thing aboutthesmallformatthatatleastformeallowsamore ED: Threeartistswhoareredeﬁningtheboundariesofrelief GA: ED: Thisisinthehandsofarchitectsandpatrons.Ambi- GA:

What istheroleofreliefincontemporaryarchitecture? Can youtalkaboutartistswhoarecurrentlydoingin- Opposite page,top: inches high. oil paintonaluminum, 8 Timothy Woodman (2012), Medusa (afterGericault) inches high; oil paintonaluminum,5-3/8 Timothy Woodman (2012), the Shark(afterCopley) inches high; oil paintonaluminum,5-3/4 Timothy Woodman (2012), Stream (afterHomer) from topleft: On thispage,clockwise ments, 75incheshigh. bronze withoil-basedpig- 4/4) byManuelNeri(2006), cos deGeso 79 incheshigh; wire andwoodarmature, (1985), plaster, pigments, de GesoX by ManuelNeri TheRaft ofthe Watson and (Diptych,Cast

The Gulf bottom:

Arcos by by Ar- by 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 background 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 Lee Fatherree. Courtesy of Hackett/Mill, San Francisco. remind us of the illusion of space created by the shallow relief. Woodman uses none of the modeling techniques of traditional sculpture to create illusion and likeness. He fabricates Right photo: 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- Donahue. Courtesy of Medialia Rack and Hamper Gallery. Tara 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), Left photos: 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.

10 SCULPTURE REVIEW

fluid and original way. Traditional realistic medallic convention that they could, and for sculptural relief uses figure and ground in the last thirty-five years we have seen a lot much the same way it is used in drawing and of innovative work that has been building on painting. In Storer’s relief sculpture the back- itself with younger artists. ground is eliminated, which is a radical de- GA: So the medal as being round and parture from relief. Her work becomes more metal is no longer sacrosanct? like traditional three-dimensional sculpture. ED: The Americans found new ways to de- She creates a wonderful interplay of the sign medals, and many were neither metal overlaid drawing and the underlying form. nor round. The drawing and sculptural elements dance GA: What were those new medals made together, sometimes in lockstep and at other of, and how were they produced? times spinning off on their own. See( article ED: One artist who stands out was Irving in this issue, “Narrative in Contemporary Re- Mazze, a well-known gem engraver who be- lief Sculpture,” p.16). gan to use his intaglio skills (negative relief) GA: What is happening in the world of to make portraits and figures in precious

medallic art in the United States? gemstones in the medallic format. Donahue. Courtesy of Medialia Rack and Hamper Gallery. Tara ED: Nothing short of a revolution, albeit a His pieces are truly one of a kind, in mate- slow-moving one as revolutions go. It start- rials like black onyx and rock crystal, which Right photos: ed in 1982 with a group of artists who later has a special way of letting the light play over formed the American Medallic Sculpture the transparent forms. Mazze would choose Association. (See article in this issue, “The a stone that would be inspired by his subject. American Art Medal,” p.36). They represented a new genera- Mazze felt a kinship with Augustus Saint-Gaudens, who was Courtesy of the artist. tion of artists inspired, in part, by their contemporary European also a gem engraver, and later discovered the work of Jiří Har- counterparts, to reinvent the traditional art of making medals. cuba, a Czech medalist who engraved portraits in glass. All

This small new band of artists proceeded to break down every three used the tradition of working the stone or glass with a Left photos:

12 SCULPTURE REVIEW 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 after 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 contemporary 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 something 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 being 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.

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.

SCULPTURE REVIEW 13

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 studied the foundations of art theory and techniques with the prominent artist Kazuo Tsuboi at his seminars between 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. 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; Gordon Alt is the executive director of the John Cavanaugh Founda- from middle left to bottom left: Meditations (2013) and Cry

Courtesy of the artists. tion. He is also a member of the editorial board of Sculpture Review, (2012) by Magdalena Dobrucka, plaster; from middle right to and currently serves as second vice president of the National Sculp- bottom right: Friend (2010) and Hunter (2013) by Magdalena Photos: ture Society. Dobrucka, bronze.

SCULPTURE REVIEW 15 NARRATIVE in Contemporary Relief Sculpture

by Wolfgang Mabry

culptors on every continent have used relief Sfor 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.

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 accessible 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 Media Arts Lab. 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- Bottom, left photo: rienced by touch without sacriﬁcing visual interest. In “Forest

On this page, top left: A Lucky Spectacle by Ann Cunningham On this page, top right: The Field by Amy Kann (2009), Forton, (2004), slate, cherry wood, bronze and gold leaf, 24 inches high; 25 inches high. bottom left: Nepal by Ann Cunningham (2000), slate, Colorado Opposite page: Antigone’s Dilemma Triptych (Beseeching, Courtesy of the artists. Yule marble, bronze, 24 inches high. Ethroned, Deposed) by Christopher Smith (2014), GFRC, 36 Photos: inches high.

16 SCULPTURE REVIEW

“... a flower into her hands, symbolic of life’s boundless possibilities, she serenely accepts the harshness that must accompany the beauty.”

18 SCULPTURE REVIEW Photos: Courtesy of the artists. Morfit (2012),Urethaneplastic,wood,nails,paint,44incheshigh. Polymer modifiedgypsum,84incheshigh; high. Opposite page: both hands. sense ofafull-volumesculptureintheroundwhenexperiencedwith sculptures intactilelyandvisuallysatisfyingslate, intendedtogivethe troduced forest sounds,invitedtouchingbyallvisitors,includingchildren,andin- Woodson ArtMuseuminWausau, Wisconsin,Cunninghamincorporated Folklore,” a2015exhibitoftwenty-ninesculpturesattheLeigh Yawkey which sheisworking. ers, Kann alsoletsthatstillness pointhertothetruthofpieceon grove. In herprocessofcommunicatingthemagicquietudeforview- stately birches,thesmoothnessofhergown,andpeaceaquiet the clarityandstillnessshefeelswhensculpting,assymbolizedby Kann’s reliefscalled Kann’s subjectismovingforward,butwithmeditativecalm.Anotherof she serenelyacceptstheharshnessthatmustaccompanybeauty. takes aflowerintoherhands,symbolicoflife’s boundlesspossibilities, blooms contrastwithsharpandpricklyleavesstems.Ashersubject tion a younggirlfacesapproachingadolescence. Inabas-reliefcalled Sculptor , Kann depictsagirlinfieldofwildflowerswherethesoftandlovely On thispage,top: Wolves I,II&III Amy Kann

Transition The Field bringsviewersquietlyintotheunknowablefuture Mama’s InTheArbor ), completedin2014,atriooftwo-sidedrelief by AmyKann (2014),Carraramarble, 19inches narrates anequallypersonalexperience, bottom: by JedediahMorfit(2014), You Wish by Jedediah Transi- Commissioned to sculpt the Brookgreen Gardens 2010 Jedediah Morfit’s reliefs explore modern living with wit, hu- medal on a theme of “The Sculptor,” Kann focused on the art- mor, elegance, and more than whispers of cynicism. In a se- ist’s calling, titling her work The Calling of the Sculptor. Kann ries of works he calls Frames, Morfit narrates the perils, co- considers sculptor Anna Hyatt Huntington (1876–1973) and nundrums, and sometimes joys of contemporary life as he Joan of Arc, the subject of the sculpture on which Kann de- knows it, addressing consumerism, crime, gluttony, love, cli- picts Huntington working, to be embodiments of having a call- mate change, egotism, innocence, and guilt. Morfit arranges ing. Kann’s subtle narrative reveals a profound admiration of individual elements sculpted in urethane plastic into dramas her subject’s calling and life’s work. She implies Huntington’s fraught with noise and perplexity, presented to allow every ur- radiance by showing her on an elevated scaffold in a graceful ban viewer an almost instant identification with the situations pose, her profile in an uplifted expression of serene joy remi- he designs. Tell Me Again How This is My Fault includes a vol- niscent of a quasi-religious ecstatic state. Kann brings Joan of ley of arrows cascading diagonally down among apes, a chair, Arc into the medal by suggestion only, making her an invisible a tornado hurtling out of a bottle, shopping baskets, and a pig but powerful presence. with a man’s head, among other highly symbolic elements that Kann uses implied narrative, leaving certain meanings and represent challenges faced by multitudes in the present. Titles intentions unstated and out of view. The long history of tradi- give a sense of the narrations contained in Frames: Price of tionally overt narrative in relief sculpture has led viewers to ex- Doing Business, You Wish, Paved with Good Intentions, and Ad pect literal relationships between relief and narrative. Contem- Infinitum refer clearly to a chaotic, inexplicable, head-scratch- porary sculptors use that expectation to create mystery and ing urban existence in the twenty-first century life that sustains dramatic tension in their reliefs. By tending less to objective and bewilders at the same time. recording and more toward ambiguity and purposeful omis- Morfit’s larger sculptures reveal a visual storyteller at his al- sion, contemporary sculptors offer increased opportunities for legorical, narrative best. In Self Portrait with Ambition, a life- deeper viewer engagement and interpretation. 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 purpose, 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 arbor, 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 inspiration, 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 Courtesy of the artists. brothers were killed. Jocasta’s brother Creon became king, Photos:

Continued on page 24

20 SCULPTURE REVIEW 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. ted threehoursinsufficient Storer consideredtheallot- ure paintingwithPaul Davis, While intenselystudyingfig- and Robert Piepenburg. Colleen Barry, JimRomberg, Sylvia Davis,AkioTakamori, ture, withmentorsPaul and slab-built figurativesculp- raku, ceramicglazes,and rative drawing,sculpture, cluded workshopsinfigu- tage points. accessible frommultiplevan- and formtomakeherreliefs her skillsincombiningline his imagesinordertorefine into hercareerdidshestudy State in1968.Onlylater, andwell ramics whileastudentatOregon came awareofRudyAutio’s ce- earned aB.F.A. in1971,Storerbe- the ArtsinOakland,whereshe ring totheCaliforniaCollegeof interest insports.Beforetransfer- in makingartwouldovertakeher Storer knewearlythatherinterest plished inballsportsasachild, with whichshewasborn.Accom- ordination sheconsidersagift from theexcellent eye/handco- Storer’s interestindrawingarose from ideatocompletedsculpture. considers essentialtoherprocess gin withdrawing,adisciplineshe figure fragmentsinhighreliefbe- since 1981.Storer’s portraitsand lation ofOgden,Utah,herhome subjects chosenfromthepopu- C Further studieshavein- day peopleinherwork, Storer portraysevery- eramic sculptorSuzanne LINE ANDFORMINSERVICE TO MEANING: Ceramic SculptorSuzanneStorer by Wolfgang Mabry Wolfgang by Snowmass Village, Colorado. He at AndersonRanch ArtsCenterin from timeIrecentlyspentwithhim Woman Vessel III shop withAkioTakamori in1988. slab fromunderneathinawork- how toexpandadrawingon the viewer’s movement.“Ilearned ate theillusionofeyesfollowing ample ofportraitreliefsthatcre- recalls Storer, referringtotheex- til Ineedtouseitwhilesculpting,” by whatIdidn’t realizeIknowun- ing daily. Iamsometimesamazed hand coordinationtunedbydraw- all Iseeaslongkeepmyeye/ from Paul Davisandcannowdraw ing shapesforpossiblesculpture. el, shelooksforthemostinterest- Storer beginstodrawfromamod- portion thatmovedher. Now, when Davis suggestedshedrawonlythe time todrawacompletefigure, so “Ilearnedtriangulationdrawing ground mightimpose, Storer from anyconfinesaback- senting onlythesubject,free in theirpureststate. Bypre- subjects arrivetotheviewer ize hersculpturessothat of lineandformcharacter- or embellishment.Economy humanity withoutidealization convey thesculptor’s loveof Her currentceramicreliefs who havebeenmarginalized. that ismeaningfultopersons cialization increatingwork er hasmovedtowardaspe- purely artisticendeavor, Stor- high relief.” persuaded metofocuson Beginning hercareerasa is adirectresult

Photos: Courtesy of the artist and Jack Shainman Gallery, New York.

Photos: Courtesy of the artist, except for bottom right: Courtesy of James Harris Gallery, photo: Richard Nicol. 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, always 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 outside 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, approximately 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 sculptures 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.

SCULPTURE REVIEW 23

Continued from page 20

and decreed that Polynices, the in the sacred events unfolding in banished brother, could not re- their presence. By means of ex- ceive a proper burial. Antigone pressive action, gesture, and ex- chose to abide by the rule of quisitely rendered faces, Visco the gods over the rule of her implies qualities such as kind- uncle. She buried her brother ness, altruism, and brotherhood. and was imprisoned by Creon in A historic contrast to the mys- a cave. On his way to free An- tery and suggestion in contem- tigone after a change of heart, porary relief sculptures can be Creon discovers that Antigone seen in Trajan’s Column in Rome, has hanged herself, and that his Italy. It describes in exceptional son Haemon, Antigone’s fiancé, detail the two campaigns of the has killed himself. On receiving Dacian Wars that brought Dacia that news, Creon’s wife, Queen (present day Romania, Moldova, Eurydice, kills herself. Christo- and parts of Serbia, Bulgaria, pher Smith’s triptych, Antigone’s Hungary, and Ukraine) and its Dilemma, addresses the theme enormous wealth into the Ro- of a contemporary woman seek- man Empire in the first decade ing power depicted in large of the second century CE. The panels subtitled Beseeching, Enthroned, and Deposed. Using column was made from a total of twenty-nine Luna Carrara the sparest of symbolic imagery and the beauty of a strong marble blocks including the pedestal, column, capital, and in- woman in her prime, Smith narrates complex issues relating terior spiral stairway. A doorway in the pedestal grants access to women’s roles, as urgent in antiquity as they are relevant to the interior spiral stairway lighted by forty window slits and today and tomorrow. leading to an observation platform. The lower half of the col- During his studies of nonrepresentational art in Italy, on a umn depicts the first campaign (101–102 CE) and the upper half Fulbright-Hays Grant in 1970–1971, sculptor Anthony Visco was recounts the second campaign (105–106 CE). The narration is sufficiently moved by the reliefs of the Ghiberti doors on the composed of 155 scenes containing 2,662 figures. Although north and east sides of the Baptistery of Saint John in Flor- the column commemorates the Roman conquest and annexa- ence, Italy (called the Gates of Paradise by Michelangelo), to tion of Dacia, battle scenes are downplayed on the column change direction and specialize in highly representational, de- with emphasis given to soldiers engaged in construction and votional art, primarily in relief sculpture. His bronze triptych at ceremony, very likely a propaganda tactic addressing the Ro- the Catherine Pew Memorial Chapel of the Bryn Mawr Pres- man citizens’ fear and distrust of the Roman army by narrating byterian Church in Bryn Mawr, Pennsylvania, narrates three history to suggest a war with little collateral damage. cornerstones of Presbyterian liturgy: Baptism, Eucharist, and Whatever the era, sculptors have for more than 6,000 the Word (depicting The Baptism of Christ, The Sermon on the years recognized the immense potential of relief sculpture Mount, and Christ at Tiberius). to carry narrative content. Visual terminology has varied from Visco’s high reliefs include multiple figures, landscape, and unequivocal specificity to the barest suggestion, with the local-color backgrounds to bring immediacy to well-known best sculptors always finding ways to escape the confines of Album / Art Resource, NY. events that other artists have narrated in painting, sculpture, language in favor of the more universal communication only music, and oratory for the entire two millennia of Christianity. images can achieve.

Right photo: 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 Wolfgang Mabry writes about art, artists, and the business of art. He has directed galleries in Carmel and Laguna Beach, California, and heads, arms, palm fronds, furled sails, and others rise above Santa Fe, New Mexico, where he now sells fine art at a gallery on the relief as three-dimensional components, allowing reflected Canyon Road. Scala / Art Resource, NY. Scala / Art Resource, NY. backlight to heighten the illusion of animation or of coming to life. As the central figure, Jesus, goes about fulfilling his unique

Left photo: destiny, Visco portrays the full immersion of the other ﬁgures Opposite and on this page: Column of Trajan (113 CE), marble.

SCULPTURE REVIEW 25 FIDEM AND THE ART MEDAL Portable, Personal, and Peculiar

by Cory Gilliland

IDEM, the International Art Medal of his station could be offered as a gift. FFederation, exists to promote the A fifteenth-century Italian artist, Anton art of the medal at international Pisano, called Pisanello, found a way levels. The aim of the organization is to to accomplish this and to ensure his make medal art known and to ensure patron’s eminence: The Renaissance recognition of its place among other medal came into being. The genius of forms of sculpture. this Renaissance court painter of the What is an art medal? It is not an award. Gonzaga family, rulers of the Italian city It is not an official or military decoration. of Mantua, created such masterpieces It is sculpture. It is ART. Sculptors create as those in the Samuel H. Kress Collec- art medals. Indeed, an art medal is simply tion now at the National Gallery of Art in a small sculpture. Though to complicate Washington, D.C. matters, medallic art is not always very The artist’s talent and the use of cast small. A medal may exist in the round, bronze ensured that the object would or it may be uniface, or it may have an be lasting, durable, and significant. The obverse and a reverse. In the modern first Renaissance medals were cast from art world there are no rules. The art- original molds made from the artist’s ist creates and, as with all art, a medal wax models. Additional medals could cannot be limited by the definition of a be replicated from the same molds and word. A medal may be bronze, or it may then individually chased or hand-tooled be made of paper, plastic, glass, wood, to smooth the unintended rough areas. or even cloth. The artist decides. Most Finally each piece was given a patina to often, a medal may be held in the hand provide color. The possibility for multiple and may evoke a reality, or may morph editions added to the popularity of the to tell of another emotion. Of all forms of new art form. art, almost none is more private It was not until almost two cen- than the handheld medal. Each turies later that new techniques is as portable, personal, and pe- and machinery made possible culiar as the small netsuke of a the struck medal. A mint us- Japanese warrior’s sword or the ing the multiple die method for incised decorated disk of a Ro- producing coins could strike an man lady’s mirror. edition of a medal and sell to A cult of personality and the the general public. Machines re- human ego led to the birth of placed almost any evidence of the portrait medal during the an artist’s hand. The invention of early Renaissance. Men (as well the reducing machine in the nine- as women) wanted to be noted teenth century further removed and remembered. The impor- the original work. Over time, the tance of personal accomplish- abundant use and distribution of ment became paramount. A commemorative struck medals Tara Donahue. Courtesy of Medialia Rack and Hamper Gallery. Donahue. Courtesy of Medialia Rack and Hamper Gallery. Tara man’s portrait in conjunction gave way to many inferior artistic

with a symbol to remind others products. Eventually, mint mas- photos: ters and owners came to realize highlighted a number of profile the need for discussions with each portraits. A medal sent from the other and with sculptors. firm Maison Canale as well as one On October 8, 1937, a number pictured from Arthus Bertrand and of mint owners and friends met Company made use of the multisid- together to found the Fédération ed form rather than the more com- Internationale des Editeurs de Mé- mon round format. In addition, sev- dailles, F.I.D.E.M. Their first statute eral small, multisided pieces were states that the group name was to sent from J. Sanne of Lyon. Artists be the International Federation of seemed to be looking for diversity.

Editors of Medals. As it developed, The deafening noise of Euro- the organization became one of pean national events reverberated artists, scholars, and patrons inter- through the voice of art. One med- ested in the art of the medal and its al from the Dutch firm of Koninkli- history. By 1963, the reference to jke-Begeer chillingly depicted the editors in the title disappeared in effect of war with a woman holding favor of the Fédération Internatio- the body of a dead soldier. Each of nale de la Médailles d’Art (FIDEM). the plaquettes from the Swiss firm The first edition of the FIDEM of Huguenin Fréres & Company publication, Medailles, appeared commemorated the reorganization in June 1938. This publication re- of the Swiss army and all depicted ported the events of the original meeting and included photographs Opposite page, top: 1983 Florence Congress (Obv. and Rev.) by John of medals from the Belgium minting Cook, struck bronze; bottom: Old Sa- firm of Fisch and Co. The editions tyr With Pipes by John Cook, bronze. from the Mint of Paris contained a On this page, top: Heloise and Abe- medal with the reverse inscription land by John Cook, bronze; middle: “Television” above the appropri- 1985 Stockholm Congress (Obv. and ate symbol, a subject somewhat Rev.) by Merlin Szasz, struck bronze; bottom: Ancestral Tree II by John amazing for that date! Medals from Cook, bronze. the Paris firm of Arthus-Bertrand

SCULPTURE REVIEW 27 soldiers in uniform ready for battle. Two issues of Medailles the French gave way to the ascendancy of the Eastern Eu- appeared during the second year and three issues in 1939. Af- ropean artists who are often credited as the true innovators ter each Congress the lectures and events of the meeting and of the modern medal. With their artistic efforts the cast form the medals from the exhibition resurfaced in importance. Inter- were recorded in the maga- estingly, the inhumane world zine the following year. This of the Soviet block medalists remained true until the organiz- constituted the artistic theme. ers prepared separate catalogs Their governments seemed to of the exhibitions. ignore and allow the art form. From the advent of World How amazing it is that artistic War II, FIDEM did not recon- freedom appears not to have vene a Congress until 1947. By been jeopardized in the case of the 1950s, the implementation medal art in these Eastern Eu- of the primary FIDEM aim was ropean countries. Zofia Dem- being achieved. Exhibitions of kowska of Poland is one whose medals were being organized art demonstrates such master- as a way to acquaint the pub- fulness of the cast medal form lic with the art form. London and its possibilities. played host to an exhibition en- One must mention, however, titled “European medals from that medalists in Portugal later 1930 to 1955,” published as a found a way to reinvigorate book, Exhibition of European the art of the struck medal. Medals 1930–1955 by the Roy- They took the lead in develop- al Society of Arts, London, in ing this art of cool detachment 1955. that stands apart, precise and The Paris Mint Director Pierre remote as the machine that Dehaye realized that with struck it. heightened artistic merit profit The March 1960 edition of from the public could be made. Medailles mentioned the Direc- He invited well-known artists tor of the United States Mint in such as Henri-George Adam, Washington among the honor- Siv Holm, Salvador Dalí, and ary committee of Mint Direc- André Galtié to design med- tors. United States delegates, als to be struck, exhibited, and however, were not a part of FI- sold by the mint. DEM until the 10th Congress in By the 1970s, the impact of 1963. It was then that a woman museum curator, an immigrant to the U.S. previously aware of gress that the American del- this European medal associa- egates held a social event for tion, became the first U.S. dele- all American participants and gate to FIDEM. Elvira Clain-Ste- for all international delegates. fanelli, a curator of the National The tradition of giving each Numismatic Collection at the a gift of the U.S. delegation Smithsonian Institution, con- medal was established with tacted artists whose work she the presentation of the 1983 knew and asked them to send John Cook bronze and at the examples of their medals for 1985 Congress with the Merlin exhibit to the FIDEM Congress. Szosz (1936–2013) medal. It was a one-woman opera- The 21st Congress of 1987 tion without outside committee marked the first time in the his- judging or assistance. French tory of FIDEM that participants was the official language of FI- met in the United States. With DEM and Mrs. Stefanelli, who the sponsorship of the Ameri- spoke multiple languages, did well in introducing the U.S. to can Numismatic Association (ANA), Alan Stahl as U.S. delegate the European group. The American section of the exhibition, and his vice delegate organized a small committee to plan the however, often was limited in number of artists and medals. Colorado Springs Congress. At the Congress, Mrs. Stefanelli The December 1964 edition of Medailles included both the welcomed the group in five languages and Leonard Baskin, English and French versions of her lecture dealing with the the renowned artist, spoke of his own medals in his keynote medal exhibit at the Cleveland Convention of the American address. As with all Congress-sponsored after trips, taking Eu- Numismatic Association. This English presentation was the ropeans to the “Wild West” constituted an unforgettable ad- first to appear in the FIDEM publication. By the 1990s, as many venture. Mico Kaufman created the official FIDEM Congress lectures were delivered in English as in French. medal that vividly represents the speed and distance of travel For the 12th Congress in 1966, FIDEM branched beyond the encountered when visiting the western United States. The borders of the original member countries to enjoy the city of ANA and Colorado Springs again welcomed FIDEM in 2007. Athens. In 1969 they met in Prague. By 1971 delegates from The organization continues to increase in membership and Israel, Denmark, Romania, Australia, Canada, Yugoslavia, to expand around the globe with forty nations now participat- Czechoslovakia, Hungary, Bulgaria, and Japan had joined FI- ing. The Bulgarian Congress in Sofia (2014) added a Balkan DEM. Artists, museum personnel, art historians, and patrons, city to the roster of FIDEM Congress sites. Europe beckons among others from many points of the globe, met for lectures again this year with the plan for the next Congress to be in and discussions about medallic art, for large international ex- Ghent, Belgium. Medal history, modern medal developments, hibitions of medals, and for a number of days of rare opportu- and over 2,000 exhibited medals will once again be in store for nities to experience the social and the attendees. A promised highlight will be a visit and a lecture cultural delights of the host cities. The organizers of each concerning the conservation of the Jan and Hubert van Eyck Congress have the responsibility of finding patrons and pro- Adoration of the Mystic Lamb. viding a most memorable experience for every attendee. The FIDEM continues to promote medal art. Medallic artists con- Congress of 1983 in Florence, Italy, might be considered to be tinue to creatively search for new ways to artistically convey among those most memorable. what is important to them and to the unique culture that each After the organization of the American Medallic Sculpture represents. Increasingly, society finds meaning in the art of the Association in New York City in the 1980s, John Cook, profes- handheld medal. sor of sculpture at Pennsylvania State University, and Alan Stahl, curator at the American Numismatic Society (ANS), vis- Opposite page, top: 1987 Colorado Springs Congress, Obv. and ited Mrs. Stefanelli at the National Numismatic Collection of Rev. by Mico Kaufman, struck copper, 2 inches high; middle: Dae- the Smithsonian Institution. They requested that she recom- dalus and Icarus by Ivanka Mincheva, cast brass, 4 inch diameter; mend them as delegates to FIDEM. This she did. They to- bottom: Full Moon by Ivanka Mincheva, cast brass, 4-1/2 inch diameter. gether served as U.S. delegates for the 1983 Florence and On this page: Theater V by Ivanka Mincheva, cast brass, 3-1/2 the 1985 Stockholm meetings. It was at the Stockholm Con- inch diameter.

SCULPTURE REVIEW 29 THE FASCINATION OF MEDALLIC ART A Distinctive Tactile Narrative Quality

by Mashiko

edallic art joins both the two and three- Mdimensional 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 artist 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 current 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 PORTUGAL Within the international medallic art field, Portuguese art- previously, educators. As contemporary medallic art has ists have made the most dynamic changes in the discipline by developed, its creation is being continually affected by embracing rapidly emerging advanced machine technologies. rapid technical changes and new technologies, many Helder Batista (1932–2015) was one of the influential and in- seen in the work of these artists. ventive medallic artists. He was commissioned to produce numerous coins and commemorative medals by the Portuguese UNITED STATES mint. Another inventive artist is João Duarte (b. 1951). Under his In the U.S., the most influential medalist is John Cook (b. leadership, the curriculum of the Medal Department at the Uni- 1930). He organized the International Medallic Art Workshop at versity of Lisbon progressed, establishing a strong foundation Pennsylvania State University in 1984, where leading medalists for the development of young artists, including international of the time participated. Cook changed the concept of medallic students. During his twenty-six years of teaching, he advanced art, and left an indelible impression on the national and interna- and created a new curriculum, which covers the technical and tional medallic art world. He changed the role of medal art as historical aspects of coins and medals as well as methods for Tara Donahue. Courtesy of Medialia Rack and Hamper Gallery. Tara functioning in a commemorative relationship to independent detecting counterfeit money. He is the founder of the contem-

ﬁne art work. porary medal research group in Portugal. Photos:

30 SCULPTURE REVIEW 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. Opposite page, top and be- Another noted Dutch artist, Theo van de Vathorst (b. 1934) low: 100 Anos Da Associação is known as a medallic artist with often a playful expression. Dos Bombeiros Voluntários In 1996, he created the unique 5-meter high pair of bas-relief (Obv. and Rev.) by João Duarte, struck bronze and acrylic: right bronze doors for the fourteenth-century Dom Cathedral in and left: Poet Fernando Pes- Utrecht, titled Doors Dom Church. It is his greatest work. 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 EUROPE Poland: 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 participants at the International Medallic Art Workshop organized 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 expression 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 organizing an annual Internet medal exhibition. GERMANY During 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.

SCULPTURE REVIEW 33 FINLAND Finnish 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 BALKANS ENGLAND Lithuania and Czech Republic: There are also many strong England has a well-structured program for emerging artists medal art traditions among the Baltic States. Their triennial through the British Art Medal Society. One of the founding medal exhibitions originated in Lithuania, while under Soviet members of the Society is Ron Dutton (b. 1935). He is the Union occupation in 1979. The event encouraged young art- most influential and leading medalist in the contemporary Brit- ists to express their concepts using the medallic art format. ish medal community. Dutton has a unique technique describ- Czech glass-engraving master, Jiří Harcuba (11) (1928–2013) is ing the landscape atmosphere, which is like air, light, and color a most nontraditional medalist. He is known for his techniques in the bronze. in cutting and engraving, creating intricate portraits in glass and finished in bronze. In 1979, he was held as a political pris- The medallic art creators featured in this article are oner for designing a medal that condemned the August 1968 only a handful of artists. There are many more from invasion of Prague by Soviet troops. His influences are evident around the world—other Baltic regions, Scandinavian as a teacher in both the Czech Republic and the United States. countries, the Pacific Rim, Australia, New Zealand, and

PACIFIC RIM other European countries—whose impact on the medal- Japan: In the Pacific Rim, the Japanese medalist, Keiichi lic art field is just as important. There is a growing and Uryu (1919–1992) was one of the innovative artists in the strong group of young artists who are taking the format medallic art field following World War II. He initiated the evolu- in new and exciting directions. tion of the medal format from commemorative functional medal to a fine art format. Uryu would later introduce the contemporary Japanese art medal to the European medal community. Throughout his career, he worked on commissioned commemorative coins and medals, while his own work focused on the pursuit of peace, his central theme after having lived Opposite page, top left to bottom: Horse Meeting by Heide though the tragedy of WW II. One of the younger generation of Dobberkau, bronze; International Women’s Year 1975 by Kauko Räsänen, copper; Marc Chagall by Jiří Harcuba, bronze; top right medalists, Satoru Kakitsubo (1950–2013), studied medal art in to bottom: Cloud Diver by Ron Dutton (Obv.); Don Inigo by Satoru Rome. He received various awards during his studies abroad, Kakitsubo (Obv. and Rev.); Self-Portrait by Jiří Harcuba, bronze. as well as in Japan upon returning to Tokyo. His ability to ex- On this page: Exchange Letter (Obv. and Rev.) by Keiichi Uryu. press sensitively detailed images with flowing expression was All medals sizes range between 3 and 4 inches diameter. also recognized outside Japan.

SCULPTURE REVIEW 35 THE AMERICAN ART MEDAL Staggered and inspired by the conceptual, technical, and visual revolution.

by Bev Mazze

n 1983, a group of American sculptors saw catalogs Ifrom 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 portrait 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. Harold J.T. Demetzer, 2010. Demetzer, Harold J.T. Photos:

36 SCULPTURE REVIEW As the American economy changed, there were fewer place of its first meeting. A cross-section of the medallic art wealthy patrons of the arts and the demand for medals dwin- community and numismatic friends trudged up steep creaky dled. In the 1970s, there was a surge of interest in acquiring stairs to the studio of a working sculptor. While sitting on gild- medals as an investment. It was a period of high inflation, and ed red velvet chairs ‘liberated’ from a local funeral home, the some of the private mints struck commercial quality medals group decided to call itself The American Medallic Sculpture in silver, marketing them as a hedge against inflation. Even Association (AMSA). small investors bought quantities of the medals as the price Sponsoring exhibitions—and otherwise educating the public of silver rose a precipitous 712 percent. When the silver mar- about medals—was voted a key goal of the new organization; ket crashed in 1980, and investors discovered their medals educating AMSA members, however, became the first order were worthless, the resulting backlash effectively destroyed of business. Many sculptor members were starved for infor- the market for medals. mation, since American art schools no longer taught medal Hard Times for American Medals making or relief modeling. AMSA members experienced in By the 1980s, there was nowhere to exhibit medals. There sculpting and producing medals held monthly workshops in was no tradition, such as still exists in Europe, of commission- New York City, the area in and around which most members ing medals for celebratory occasions both public and private. lived. However, as membership expanded to other parts of the Two struggling sculptors, Gary Eriksen and Carter R. Jones, country, the organization became decentralized and the train- frequently brainstormed about how to improve the state of the ing program was discontinued. art, and create interest in and demand for American medals. Brookgreen Gardens, an outdoor sculpture museum and In searching for help to change the status quo, the two sculp- wildlife preserve in South Carolina, helps fill some of the train- tors contacted movers and shakers in the fields of medals and ing gap by scheduling workshops in medal making that are coins who suggested forming an organization of like-minded staffed by master medalists from AMSA. The lack of training individuals. John Cook, professor of sculpture at Pennsylva- by art schools remains a problem, because there is no founda- nia State University, was a major contact because he taught tion for encouraging art students to make medals. This con- both the art and craft of the medal. Cook was immediately on trasts sharply with the ready availability of technical and artis- board with the idea. The final piece fell into place when the tic training in Europe. Brookgreen Gardens also has a medals American Numismatic Society (ANS) agreed to sponsor such program. It yearly commissions a production run of 1,000 two- an organization. sided medals struck in bronze for high-level members. 1982: New Beginnings The Era of Innovation Tara Donahue. Courtesy of Medialia Rack and Hamper Gallery. Tara In the fall of 1982, The New York Times published an article It was when AMSA leaders like Cook attended the 1983 FI-

Photos: describing the proposed aim of a new organization “to breathe DEM Congress in Italy (Fédération Internationale de la Médai- new life into the art of the medal,” and named the time and lle) and brought back catalogs, that AMSA became aware of

SCULPTURE REVIEW 37 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 interlocking 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. 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 includes 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 reverse side of the self-standing medal (an innovation) depicts an agonized reaction to the mass destruction

38 SCULPTURE REVIEW Exhibitions and Awards Today, medalists have numerous opportunities to exhibit art medals individually or in groups, and to receive 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 sculptor 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 recognize 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 design 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 architecture in Melbourne, I am familiar with how many re- gimes over the centuries have tried to cement their political futures with overblown neoclassical architecture. 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/

Polly Purvis is a photographer and sculptor who works with Opposite page, left: Dog House in the Wind by Jeanne salvaged metals and sometimes embeds a photograph within Stevens-Sollman, variation, cast bronze, assembled, her medals. The medal shown here was created speciﬁcally for a 2-1/2 inches high; right: The Past Watching the Future 2015 exhibit commemorating the bombing of Hiroshima. The title Appear by Polly Purvis (2015), brass, steel, rubber, 3/34 of the medal The Past Watching the Future Appear and the event inches diameter. commemorated are clues to understanding the iconography. The On this page: American Delegation Medal, XXXII FI- DEM Congress Congress, Glasgow, Scotland (Obv. and photo shows a pale face with a drop of blood looking anxiously Rev.) by Jim Licaretz (2012), resin, 2-1/3 inches diameter. beyond a constricting metal band. The body of the medal is made of parts salvaged from a hardware store.

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