contemporary sculpture
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“Museums are managers of consciousness. They give us an
interpretation of history, of how to view the world and locate ourselves
in it. They are, if you want to put it in positive terms, great
educational institutions. If you want to put it in negative terms, they
are propaganda machines.”by Hans Haacke
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“Museums are managers of consciousness. They give us an
interpretation of history, of how to view the world and locate ourselves
in it. They are, if you want to put it in positive terms, great
educational institutions. If you want to put it in negative terms, they
are propaganda machines.”by Hans Haacke
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“I wanted to make something visual, physical, visceral to reflect the butchery they are inflicting on our planet: a visual scream that gives voice to the calamitous cost of the climate crisis, often on the most marginalised communities across the globe. BUTCHERED is also a tribute to the heroic work done in opposition to this destruction, and to the tireless activists who choose to disrupt, disagree and disobey.” — Anish Kapoor
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“The most interesting characteristic of the cube is that it is relatively uninteresting. Compared to other three-dimensional forms, the cube lacks the expressive force of the sphere, the dynamic quality of the pyramid, or the graceful complexity of the human figure. But it is what it is — a square in three dimensions — and that alone is enough.”
Sol LeWitt
Cube Without a Cube
Painted wood multiple, contained in the original wooden box.
1996
7 7/8 x 7 7/8 x 7 7/8 in.
Sold $17,780
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Psyche Revived by Cupid’s Kiss
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Richard Serra. Television Delivers People. 1973
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Installation photo of Richard Serra Sculpture: Forty Years, The Museum of Modern Art, New York, June 3–September 24, 2007. Photo: Lorenz Kienzle
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Ian Burn began investigating the act of looking in the mid 1960s. In this work, text across a standard framed mirror quotes from the 18th-century Scottish philosopher David Hume. The original quote continues, ‘if we consider these objects in themselves, and never look beyond the ideas which we form of them’.
The viewer is asked to consider this specific work of art without considering his or her accumulated knowledge and assumptions about either ‘mirrors’ or ‘works of art’ (or the person ‘in’ the mirror). The impossibility of isolating any one thing from all others is emphasised in this conceptual artwork by our reflection in the mirror and that of the space in which it hangs and other art nearby.
Ian Burn
Two glass/Mirror piece
1968
mirror, glass, wood
93.7 × 63.2 cm
National Gallery of Victoria, Melbourne