Camille Claudel

Camille Claudel (1864-1943)
The Waltz, 1892-1905
Neue Pinakothek, Munich

Unfortunately, Claudel's life story often overshadows her accomplishments as a sculptor. Both a student of Rodin and his lover until she was 30 years, their tumultuous relationship and her later incarceration in a mental asylum for the last 30 years of her life seep into the details of her work. While I am never one to think that biography is separate from creativity, talent and genius, it is important to look and see how an artist's work stands on its own.

Due to Claudel's connection with such a revered and well-known artist, it was difficult for her to shine on her own as a sculptor once their relationship ended. Some believe that her work is derivative of Rodin's others see its special beauty and her unique talent. Claudel's sculptures are intimate and flowing as you can see in The Waltz. At the same time it is fascinating to see read about discussions of the affect of Claudel on Rodin's work (she remains a source of inspiration for his work)

The original version of this sculpture was criticized for its too blatant nudity and it was strongly suggested to Claudel to add the drapery which she did. While the drapery may detract from Claudel's original intentions it showcases her sculptural talent.

An exhibition at the Detroit Institute of Art focused on the relationship and work of the two, both influencing the other in their work. Camille Claudel & Rodin: Fateful Encounter

Contemporary Sculpture

Piggy Back (A Caballit0) 1997
Juan Munoz (1953-2001)
Speed Art Museum Louisville, KY

I have a lot of thoughts on themes which I've been avoiding but I think I may follow one this week (we'll see what Tuesday holds...). Contemporary Sculpture will be my offering. I will try to share a range of work that has been created since 1980 and it may or may not cross over into installation (the history of sculpture class I took in college was predominantly installation - which I did find annoying at the time, my knowledge of sculpture history is not so good!)

Juan Munoz is one of my favorite contemporary sculptors (though he unfortunately passed away too soon in 2001). One of the special artists that always causes me an excited breath when I see one of his works in a museum visit. Happily, we have one of his sculptures at TMA, and I discovered a new one this past Friday at the Speed Art Museum in Louisville, KY (which I highly recommend taking a visit too, both the city and the museum)

The experience of a Munoz sculpture or installation can be a little unnerving at first. His figures have incomplete faces, yet are not expressionless. One feels as if they have interrupted the space of the figures. While near life-size, their stature appears small due to the their often hunched or slumped physicalness. It often appears as if their bodies are not complete or that they cannot completely fill the space of the materiality of their clothing. The figures invoke a quietude that in a way requests respect from the spectator. Munoz deliberately stops short of fully enhanced realism in his sculptures with the intention of allowing them a greater and fuller life in their abstracted openness. This also adds to the sense of isolation the figures invoke. “The more realistic sculptures are meant to be," Muñoz has said, "the less interior life they have." (Speed descrip.) These figures have often taken position amongst architectural spaces in site specific installations created by Munoz. Unfortunately, I've never see one in person, but fell for Munoz through an exhibition catalog of one of these installations (A Place Called Abroad) at the Dia Art Foundation which I bought having never seen the show years ago.