International Sculpture Center

   


September 2004 Vol. 23 No. 7
A publication of the International Sculpture Center

Complete text in print version available at fine newsstands and through subscription.

  <Back to Contents page>

From the Editor


Now, as always, some sculptors are at pains to polish away all traces of their hands or tools, and others openly demonstrate them. With the advent of high technology in the arts, the dichotomy remains. With each innovation in facture (such as rapid prototyping and computer numerical control, the primary technologies profiled in the first three articles in this issue of Sculpture), artists may choose to leave traces of their process not in terms of tool marks but in the scale, materials, and design complexity of the resulting work. In other cases, sculptors cover their tracks by manipulating the results of their use of new media through other, sometimes more traditional techologies such as casting or hand-finishing. But, as we may be reminded by the works of Michael Rees, Jon Isherwood, and other artists seen in this issue, and by the last two features (on Buddhism, for which meditation is a kind of technology of the spirit, and on Gino Marotta, who has relied on the new technologies of the century just past), it is the power of the final artwork, and not of the machine or process, that embodies the value of the artist’s labor.

~ Glenn Harper



<Back to Contents page>

Sculpture Magazine Archives
To advertise in Sculpture magazine, call 718.812.8826 or e-mail advertising@sculpture.org.
To contact the editor please email editor@sculpture.org