In her treatise, Sculpture Inside and Out, Malvina Hoffman (1885-1966) explored the power of sculpture to communicate as a universal language. Whether looking at the serene face of an ancient Athenian god, at Constantin Brancusi's sleek abstraction of a bird, Auguste Rodin's evocative lovers or Alexander Phimister Proctor's monumental Bronco Buster sited against the Denver skyline, these sculptures "speak" to us over many centuries and across as many continents and cultures. Underlying them are timeless expressions of universal emotions-the glue that binds us together as human beings on this marvelous planet we call Earth.
The history of sculpture, many would argue, is the history of humanity. Whether the forms are realistic or abstracted, nonobjective or expressionistic, sculpture today, as in past times and places, responds to life. It is not an imitation of life, but rather an interpretation. And wherever sculpture is placed or sited-in an outdoor garden, in a foyer or niche, or on a mantle or pedestal-it articulates the space around it, enlivening the view. A great sculpture is an object to be lived with, brightening each day with a renewed sense of excitement.
The Artist. Sculptors express themselves in three dimensions because it comes naturally-which is to say, that in many cases artists put their thoughts and ideas not into words but rather into visible shapes and forms. Nevertheless, as a collector, it behooves you to explore the credentials a person brings to their art.
Two documents you can expect to accompany your sculpture are an artist's resume and an artist's statement. The resume outlines the artist's education and the locations where they have displayed their sculptures-in galleries, art shows and sales, museum exhibitions and periodicals or books. Professional organizations the artist belongs to are also listed. Some organizations, such as the National Sculpture Society, are defined by the medium the artist works in, while others such as the National Academy of Design are competitive, requiring that the artist meet a set of standards determined by their peers. The artist statement, which is typically written first person by the artist him- or herself, reveals the ideas behind the sculpture, the artistic goals of expression, and/or the type of research that has gone into the sculpture. It should also address the level of quality and craftsmanship the artist brings to the sculpture.
Uniques and Multiples. Sculpture may be created in a variety of materials. Whatever the material, however, the sculpture typically falls into one of two categories: unique or multiples. Unique sculptures are created out of materials such as stone, wood, mixed media, or they may be fabricated out of metals. Unique pieces are one-of-a-kind. Bronzes, on the other hand, are typically cast in editions, falling into the category of multiples, with each casting considered an original work of art.
How is it possible to have more than one original? To appreciate this seeming anomaly, collectors should understand how the artist's original clay, plaster or wax model becomes a metal object. While the basics of the lost-wax bronze casting have not changed over the centuries, contemporary foundries have refined the process to an art form. Today's fine-art foundry artisans are masters of blending of industrial materials and aesthetic decision making. And while the artist creates one original model, each original casting in the edition goes through the following steps to find its way into reality.
Editions & Commissions. Each bronze in an edition goes through the process mentioned above, resulting in a hands-on original. Few rules guide the size of an edition these days. Some artists amortize their initial molding costs by running larger editions that spread the costs across more sculptures. Others prefer a smaller edition, with a commensurate higher price tag for each work.
Some sculptors are willing to work with collectors for special commissions or one-of-a-kind casts. While each artist works within his or her own guidelines, be aware that as noted in the casting process, the initial molds are the most costly and must be created whether you have an edition of one, ten or forty. If you prefer a single cast, know that all the initial costs will be borne in that one piece. In some cases, sculptors will discuss whether an edition of the piece is feasible, and will work with collectors on creating a reasonable number.
Moving a Sculpture. The packaging revolution has definitely made getting your sculpture home much easier than in the past. In most cases, boxes or crates with form-fitting foam that allows a sculpture to float in a negative cavity identical to its shape and size assure safe transport from the foundry or artist to your home. If you plan to transport a sculpture yourself, however, it should be protected from accidents and the elements of temperature or humidity changes. At a minimum, wrap the sculpture in soft, acid-free tissue or fabric to protect it from abrasion and place it in an acid-free box so that it will not move or tumble as it is moved. Do not use shredded newspaper, which has a high acidity and propensity to retain moisture. If you are storing a piece over an extended period of time, it is a good idea to speak with a conservator about the best way to keep it safe.
Caring for Your Sculpture. Just as your silver belt buckle or eating utensils oxidize due to chemicals in the air, on your hands or in water, metal sculptures can also further oxidize. And stone, despite its seeming durability, contains minerals that are affected by the elements surrounding it, notably the burning of fossil fuels such as coal and gasoline. Knowledge of what your sculpture is made of and how the elements will affect it over time are critical to preserving your investment.
How many times have you seen a bronze or stone rabbit sculpture with a discolored nose worn away by loving hands! Whether stone or metal, all sculptures should be handled with "kid gloves" or if nothing else, cotton gloves that will keep body oils and salts at bay and protect against rings or fingernails that can scratch or mar a surface.
Most bronze sculptures come from the foundry with a coat of wax or other sealants that retard oxidation, necessitating only a light dusting with a thoroughly laundered soft cotton felt or linen rag. If you are placing a work outdoors, however, there are increased hazards from tree sap, bird droppings, thorns, dog urine, fertilizers, swimming pool chemicals and snow-removal or lawn-care equipment. Prepare the piece for the outdoor elements by talking to the sculptor about where you plan to place it and the type of humidity it may encounter-which is absolutely crucial for fountains or water placements. Also attempt to site the sculpture where it will receive the least abuse. Inspect it often to determine if there are breaks in the surface polish or coating, which can rapidly deteriorate the entire surface. Diligently applying an annual coat of wax to a bronze helps protect your investment as well as your enjoyment!
Living with Sculpture. As with all art, sculpture has a number of elements that impact your decision to live with a piece in your home, office or garden. Because of its presence, a sculpture may first appeal not because of its subject matter, but because of its sheer existence in space. Scale and size are critical elements for both responding to sculpture and displaying it.
In the world of sculpture, there are a few terms that have come to convey size relative to display. Most table-top sculptures are created in a scale that allows them to be displayed in a home or office environment on a pedestal, coffee- or sofa table. Life-size works, as the name implies, are created using the standard or average dimensions of whatever is being depicted. Interestingly, most life-size works appear diminished in size once they are placed in the outdoors where the scale of external architecture, foliage and other objects dominates them. Heroic sculptures are larger than life-size (often by a quarter or half) and tend to better withstand the scale of outdoor display, while monumental sculptures are scaled so large they inevitably have to be displayed outdoors.
Sculptures are designed to be viewed in the round, so placing your sculpture in a place where you can look at all sides of it, or where you can physically move around it adds to your enjoyment of the piece. Some sculptures are based on turntables that allow them to be spun around for viewing ? just remember that the farthest point of the piece must be able to pass by a wall or any other potential obstacle!
Whether installed indoors or outdoors, sculpture is all about light and shadow. Many times the power of the piece can be totally lost if placed in an area too dark or too light for seeing the subtleties of textures, shadows and silhouettes that make a work so intriguing. Indirect natural lighting is often preferred, since it allows a sculpture to change as the light changes in a room or in an outdoor space. Contemporary lighting technology, whether flood, spot or pinpoint, can add dramatic effects, so definitely experiment with a variety of possibilities.
Once you've added several sculptures to your home or garden, you will begin to detect relationships between them that create whole new planes of seeing. Dramatic focal points or subtle surprises engage the senses, redefining the space and beguiling the eye. Powerful verticals may direct the gaze upward, while restful horizontals create a mood of quiet repose. Indoors, a sculpture placed in relationship to a painting hanging on the wall can generate a whole story. Outdoors, a sculpture greeting visitors to your home or office can create the kind of atmosphere you want to communicate.
Whatever your goals in acquiring sculpture, you will quickly learn that, as Malvina Hoffman noted, a sculpture is a spiritual experience that captures the essence of reality into visible form. It promises a lifetime of pleasure to be passed on for generations.
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