Barry Flanagan
@JBFinfo
Enabling a full exploration of Flanagan’s artistic practice, and its contributions to visual culture. https://t.co/U57NBtmb9W
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http://barryflanagan.com 28-10-2015 10:39:10
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For Flanagan, sculpture was as much performance as metal, stone & wood. The exposure of process & method is something consistently presented throughout his career. 'sand pour' (1968) & 'the works' (1970) are on show until the end of tomorrow at Galerie Max Hetzler.
The anthropomorphic qualities of Flanagan’s hares make them a natural metaphor for the human condition. In his Nijinski hares, Rodin’s homage to the dancer gives inspiration along with Flanagan's experience of dancing. ‘Sculpture is always going on’ continues at Galerie Max Hetzler.
'untitled 1979' is open at both ends, vulnerable to handling but inviting touch. This sculpture, a sort of vessel, addresses the ambiguous dialect of the creative process, of structural order & natural growth. Currently on display in ‘Sculpture is always going on’ Galerie Max Hetzler
'Jan 70' (details of five works from the series). In 1970 Flanagan made 13 fingerprint mono-prints, each configured differently, explores ideas of authorship with Flanagan's recognisable hands-on manipulation. 'Jan 70' is in 'On Paper'
Galerie Max Hetzler, Paris until 6 April.
OPENING TODAY ‘Sculpture is always going on’ Galerie Max Hetzler, Berlin. Of his practice, Barry explained ‘My work isn’t centred in experience. The making of it is itself the experience. Truly, sculpture is always going on.’
Image: Galerie Max Hetzler photo def image