Paul T. Cassedy
Unknown Artist circa 1200 B.C. Bronze
Method: Bronze Casting
Subject: A stylized figure standing 8’ 5” tall
on a platform formed of animal heads.
Reason: The reason for this piece is unknown
but it was the most dramatic piece found in
the excavation of Guanghan Sanxingdui,
and the only known representation of a
human figure on this scale.
Paul T. Cassedy
Constantin Brancusi 1938 metal-coated cast-iron modules
Method: 15 steel beads were made and then threaded onto an iron core.
Subject: Geometrically shaped beads stretching towards the sky.
Reason: This sculpture was created in memory of the Romanian soldiers who died in World War 1. It forms an ensemble with 2 other pieces, the Table of Silence, and the Gate of the Kiss.
Late 19th century Wood, feathers, rope, and paint
Method: Wood Carving
Subject: Animals and mythological creatures
Reason: This (Northwestern Coast) mask was
created for males to use in their dramatic public
performances in the winter ceremonial season.
Masks similar to Kwakiutl were meant to be seen
in flickering firelight, while it rapidly opened and
closed. This created the illusion that the wearer
could transform himself from human to eagle as
Puerto Rican Light
Dan Flavin 1965 Red, pink, and yellow fluorescent light
Method: Arranged fluorescent lights to make a figure
Reason: This display was made to create a unique environment that consists of eternity and neutrality. The contrast between the fluorescent lights and the wall emphasizes the darkness. The lights are bunched together to highlight the colors as intensely vivid. As stated by Robert Smithson, “Flavin turns gallery space into gallery time.” Dan Flavin displayed his unique style through his Puerto Rican Light, where it is stressed that the piece can disappear at any moment when the light switch is turned off.
Abigail L. Faelnar
circa 1675 A.D. Bronze Cast
Subject: Apollo the sun god, who was also
the symbol of Louis XIV
Reason: This piece, because of its scale and
detail, was most likely a finished model of a
sculpture to be presented for a patron’s
approval. Francois Girardon based Apollo
on a sketch created by the first painter of
Louis XIV, Charles Le Brun. Perhaps this
specific piece was created for palace at
Versailles because not only was the sun god
a symbol of Louis XIV, but also because the
king was the main source of the sculptor’s
Abigail FaelnarEastern Wei Dynasty (534–550), Earthenware
Subject: Sculpture of a kneeling camel
Reason: This piece was one of the two distinctive
camel sculptures excavated in 1979 from the tomb
of the Princess Lihne (538-555). The camel carries
rolls of cloth and saddlebags and the resting of the
left knee signify that the camel is either kneeling
down or standing up. The tomb of the Ruru Princess
was located in the Hebei Province in China, and from
the fifth to the eighth century, sculptures were
standard in burials. Princess Lihne’s own tomb
contained over 1,640 sculptures.
Double Flute Player
Artist Unknown circa I-II millenium B.C. Marble
Method Hammer and chisel
Subject Parian marble idol, from Keros
Reason This idol was created for funerary purposes. The reason for this belief is because the way the feet were positioned indicates that it was not meant to stand up. The size is no more than three centimeters long and was created from bleached white rock. The idol is very primitive, carved into geometric shapes such as triangular noses and flat ears. The interesting and artistic thing about this piece and other marble idols from the time were that they bear no anatomical resemblance to an actual human body, making it very abstract. This idol was one of the first at the time to be created using simple proportions based on relationships between the different parts of the body.