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| September
2004 |
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Vol.
23 No. 7 |
| A
publication of the International Sculpture Center |
Complete text
in print version available at fine newsstands and through subscription.
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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.
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~
Glenn Harper
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