Untitled, Joel Shapiro

Untitled (1982)

Joel Shapiro's Untitled series is an obvious exploration of the human form, abstractly represented by the limbs. These pieces, which use cedar wood blocks attached where limbs might be, are very gestural and emphasize the movement of the form. As well as this, there is a narrative quality to his works, especially when they are presented next to each other, almost creating an animated affect. The use of a stark white rectangular base plays well into the sculpture as well as the white contrasts very sharply against the dark cedar wood, and the continual use of geometric shapes and angles creates an implied organic form. Since the sculptures are almost recognized as a human form, there is a sense of humor in the pieces as each form has such varied positions and movement.

This sculpture is currently featured in the Museum of Modern Art.

Pacific, by Ken Price

Pacific (2000)

This sculpture, which is 21 inches tall, is reminiscent of a wave. The vibrant colors and unique shape create a piece that reminds me summer and heat but is still very representational of water. Made of synthetic polymer paint on fired clay, the sculpture rests on three orb-like feet and quickly narrows out, which creates a very quick movement into the top of the piece where it folds over and splashes back onto itself. The use of color to contrast the narrative aspect of the piece, and the contrast between the implied texture of the paint and the actual texture of the clay, create a very compelling piece. The fact that it doesn't rest on a base also emphasizes the narrative and the structure of the piece. The shadow that is cast, because of its darkness, creates an implied base, but the massive bulk of the piece at the bottom brings the entire piece together and creates unity.

This sculpture is currently featured in the Museum of Modern Art.

C.F.A.O., by Martin Puryear

C.F.A.O. (2006)

This piece is a interesting because of the differences in the stacked pine and the organic form found in the back, as well as the interesting use of a wheelbarrow as a base. Structurally, the stacked pieces of painted and unpainted pine wood dominate the piece but are also immediately overwhelmed by the organic ear-like form that is found in the back. The entire sculpture dominates the background, standing at 8 feet 4 inches tall, the piece invades the viewers personal space by having uneven stacks with the pine wood. The deep contrast between the organic and geometric and the narrative quality of the title and wheelbarrow all create interest within the piece. The voids seen throughout the piece push the spacial qualities even further.

This sculpture is currently featured in the Museum of Modern Art.

Walking, by Alexander Archipenko

Walking (1912)

This sculpture, made in 1912 by Alexander Archipenko, is constructed out of hydrastone. This piece is intriguing for its mix of angular, geometric, and organic forms that all flow together to create a cohesive piece. The voids in the center create a shape that contrasts against the geometric angles while the organic shapes that move throughout the piece provide the movement from top to bottom. Standing at 27 inches tall, the piece rests on a bulky and rectangular base that separates that provides a foundation for the piece to come out of. The smooth base also contrasts against the implied rough texture that is found on the actual sculpture. Because of the top two forms closing off on each other and there being two main points the sculpture is resting on, the piece takes on an abstract human form - something that might be seen in the Cubism movement. The two right angles that lead to the implied head also appear to create the bulk for the figure providing stability as shoulder blades.

This sculpture is currently featured in the Carnegie Museum of Art.

Daedalus, Mary Callery

Daedalus (1949)

This sculpture was created with gilt bronze on a marble base. The long, skinny, organic shapes made of the bronze give the piece life and gesture, almost creating a human form. The piece stands at its tallest point 28 inches and the bronze forms dominate the black marble base. The contrast between dark and light is very strong and the sharp diagonals create rapid movement while the actual organic quality of the shapes provides contrast to the harsh angles. The overarching piece creates a top to the piece and frames the central components nicely.

This sculpture is currently featured in the Carnegie Museum of Art.

Growth, by Jean Arp

Growth (1938)

This piece, which is made out of bronze, was created in 1938 in France by sculptor Jean Arp. The piece stands at 31 inches tall. The organic shapes and the smooth transitions through each part of this sculpture creates a strong dynamic that is further emphasized by the lack of  a base. The sculpture is titled "Growth" and seems to grow and flow outward, similarly to a tree or another plant, from a firm structural trunk.

This sculpture is currently featured in the Philadelphia Museum of Art.

Standing Vertical, by Alexander Porfirevich Archipenko

Standing Vertical (1935)

Made out of poly-chromed hydro-stone, and constructed in 1935, this piece stands at 42 inches tall. The sculpture uses the square base to contrast against the smooth organic form and the various colors play off each other. The voids create interesting shapes within the piece while the long, smooth, tan component breaks up the piece down the middle and creates a focal point. The overall shape of the piece creates a strong vertical movement and the black, red, and tan parts help move your eye throughout the piece.

This sculpture is currently featured in the Philadelphia Museum of Art.