Barry X Ball, habitually covered in our culture section, has managed to become a modernly celebrated artist whilst eschewing the zeitgeist of pop-art fascination, and deservedly so.
The art world has its own trends and fashions that come and go. Artists and art movements get discovered and rediscovered, sometimes with a nudge from powerful art collectors who first stock up on the art and then make bank once they help popularize it.
To the rather inelegant but often-asked question, “Who is your daddy?”, modern sculpture can assuredly answer, “Constantin Brancusi.”
Trauma – it is rarely possible to describe an artist’s oeuvre in one word, but in the case of the Belgian artist Berlinde De Bruyckere, it fits neatly and without reducing or trivializing her art.
Bookshelves line the walls of the American sculptor Barry X Ball’s compact office and, while walking me through the blueprints depicting his new Greenpoint, Brooklyn production facility and studio, he directed my gaze up to some palm-sized sculptures resting on them.
“So,” began the New York sculptor Barry X Ball who was kind enough to allow us a visit to his Brooklyn studio some months back, “we bought a 200 foot by 100 foot piece of land.” And, while I couldn’t have imaged it at the time, this was a highly appropriate beginning to telling his story. It was a story that began at the end: the land in question was purchased in Greenpoint, Brooklyn to house Ball’s new studio and production facility.
The Belgian artist Berlinde De Bruyckere is famous for her striking sculptures of wax and epoxy that resemble flesh in all its disfigured, vulnerable glory. She has been making these since the 1990s, but there has not been a definitive monograph of her work until now.