tailieunhanh - SOFT SCULPTURE

In Janet Zweig’s Impersonator (2002), installed in the Instructional Technology Center of Santa Fe Community College, the author may not be dead, but she is unequivocally missing in action. Who is the impersonator, who is she dramatizing, and what is her relationship to an author? Where does the artist enter and exit in this discursive, possibly disturbing scenario? There is a phantom author of texts, potentially multiple, unidentified impersonators, and someone who may have defaulted on the commonly accepted role of the artist as creator and maker. As Hannah Arendt speculates about webs of relation- ships and enacted stories, “The manifestation of who the speaker and doer. | Lucina Ward national gallery of australia SOFT SCULPTURE Foreword It is a great pleasure to present such an interesting array of sculptures to the public in this strikingly original exhibition. From Surrealist experiments with felt and fur to contemporary artists using foam-stuffed fabrics and plastic shopping bags soft sculpture is an intriguing development in modern art. Artists replaced traditional techniques expensive cast bronze and carved stone and wood instead employing cheap domestic and industrial materials. The ambiguities of softness can be seen here in many guises. The National Gallery of Australia s collection boasts many intriguing soft sculptures dating from 1920 to the twenty-first century and made in Europe America Australia and Asia. Several works have rarely been displayed before. Others are great favourites and may change as we see them in a new context. This publication and the website for Soft sculpture softsculpture will ensure the works reach new audiences. The Gallery s commitment to the medium of sculpture is evident in this project. Claes Oldenburg Ice bag scale B 1971 plastic sheet synthetic fabric electric motor My thanks go to the directors and staff of the Art Gallery of New South Wales and the National Gallery of Victoria to the artists and the private collectors all of whom have helped by lending their works. We extend our gratitude to our Exhibition Partners the apARTments at NewActon a joint venture between Canberra developers Molonglo Group and Macquarie Group. Along with their support of our exhibition they are presenting an innovative program of events at NewActon including Spooky action at a distance. We also acknowledge the support of our Sponsors Circle ZOO WIN TV The Canberra Times Diamant Hotel Threesides Marketing and Gallagher Wines whose contribution and support of the National Gallery of Australia is greatly appreciated. Congratulations to the curator of Soft sculpture Lucina Ward and my thanks to .

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