Michael Newman

Jon Wood

In his 1982 essay, at a time of disillusionment with the idea of progress, Michael Newman discusses how British sculptors employed a variety of means - from recycling discarded objects to synthesising cultural archetypes - in what amounts to a rejection of the linear view of history, concluding with Tony Carter's, By Bread Only - for the Demise of Icons (1978-9), recently acquired for the Leeds Museums and Galleries Sculpture Collections.Jon Wood and Michael Newman discuss the place of Carter and his work in the field of sculpture in the early 1980s and consider this work's inclusion in Whitechapel Art Gallery's British Sculpture in the Twentieth Century catalogue, but not, in the end, in the actual exhibition. Newman also gives his thoughts on his 1982 essay today.The essays also examine the work of other important British artists including Tony Cragg, Bill Woodrow, Jean-Luc Vilmouth, Kate Blacker, Alison Wilding, Antony Gormley, Richard Deacon, Shirazeh Houshiary, and Anish Kapoor.Accompanies the two exhibitions, Sculpture by Another Name: Tony Carter's 'By Bread Only' (21 February -20 May 2018) at Henry Moore Institute, and The Sculpture Collections (22 March - 2 September 2018) at Henry Moore Institute and Leeds Art Gallery.Includes an essay by Jon Wood and a reprint of, New Sculpture in Britain by Michael Newman (first published in Art in America, 1982).Photo Credit: Tony Carter, 'By Bread Only - For the Demise of Icons' 1978-9, Leeds Museums and Galleries (Leeds Art Gallery). Installation view at the Henry Moore Institute, photo: David Cotton.

New Sculpture in Britain (Essays 79)

Aura Satz

How do objects 'speak' to us? What happens to authorship when voice is projected into inanimate objects? How can one articulate an object into speech? Is the inarticulate body necessarily silent? These are just some of the questions brought up by this unique and unusual collection of essays, which presents subjects and categories often overlooked by the disciplines of art history, visual culture, theatre history and comparative literature. Drawing from and expanding upon the 'Performing Objects, Animating Images' academic session run by the Henry Moore Institute at the Association of Art Historians conference, held in London in 2003, this book presents thirteen essays that bring together a multidisciplinary approach to the animated object. Contributions range from literal accounts of magic lanterns, tableaux vivants, puppets and ventriloquist dummies, to the more abstract notions of voice displacement in audio art and authorship projection in writing machines. The contributors come from diverse backgrounds in art history, cultural history, comparative literature, and artistic, theatrical and curatorial practice, and all tackle the issue of 'articulate objects' from a range of lively and unexpected perspectives.

Voice, Sculpture and Performance

Articulate Objects

Lynn Chadwick

Jess Fletcher

BlainSouthern

Exhibition Held at Blain/Southern, London, from 1 May to 28 June 2014; Blain/Southern, Berlin, from 3 May to 26 July 2014; Blain/Di Donna, New York, from 29 May to 25 July 2014

Lynn Chadwick - Retrospectives

Jon Wood

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