The Provocation Column
When visiting museums and galleries, one can enjoy artwork of any size. Spaces are designed for the works, and if sculptures are monumental or large-scale, they may be simply installed outside, allowing visitors to view the pieces from every possible angle. But do large works of art provide more enjoyment, a more in-depth experience, than smaller works? In other works, does size truly matter in art?
One of the most prominent American sculptors of our time, Richard Sera has been inspired by–and has inspired–all types of artistic expression in his 50 years of work. From poets to musicians, painters to other sculptors, Sera has taken visions by other artists to help him shape his personal ideas, formulating unique, and often, large-scale works in his own materials.
Deep in the heart of Texas, where visitors are more likely to visit a stock show or look for great barbeque, an outstanding collection of top sculptures reside in a breathtaking 55,000 square foot building. Pritzker Prize-winning architect Renzo Piano designed the practical but striking building, an oasis in a forest of garish skyscrapers which Dallas is known for. Combined with over an acre of outdoor space, this combination houses the dreams of sculpture collector and real estate developer Raymond Nasher. In an arts community shadowed by the more widely-known western heritage of Texas, the Nasher Sculpture Center showcases impressive works by such artists as Donald Judd, Willem de Kooning, and Paul Gauguin, in its mission to showcase works of modern and contemporary sculpture. Its reputation as an international leader in sculpture demonstrates the importance of sculpture to the international art community.
Today, the signature of an artist on the work he or she created is accepted as a matter of evidence of authorship, so to speak. We assume that artists sign the most important, most valuable works they have created, differentiating themselves from other artists, and we take that as absolute proof that the artist created that specific work. But, does an artist’s signature mean any more (or less) than this?
History buffs thrive on the stories that shape our world: Where we have started, the experiences which have shaken the world, and how we arrived at our current location. In the world of art, this history, the journey which a work of art has travelled to arrive at its current location, is called Provenance. From the French word, provenir, meaning “to come from,” it is more than just the story of a work of art’s life or a timeline of ownership; it validates and confirms its value to the owner, even though it can be met with delight or grief, depending on the conclusion. Loosely considered the “title chain” of a work of art, you will find a vast array of different combinations of proof within the provenance of any work of art.
Scandalous stories have been passed around through the years of works of art which have been recovered after wars or found hidden away in modest homes in the estate process. These discoveries bring to light the truth—a masterpiece may be lurking in someone’s attic or storage unit, and confiscated works of art may turn up anywhere. Here are some of the most interesting and unbelievable finds in the world of recovered art:
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