Green Ted

Sculpture in the Square Page 3

8th June 2018

Frink, Young, Chadwick, Turnbull, Cragg, Flanagan and Others

Green Ted place

And so, eventually, to St James's Square, the purpose of the day.

Sculpture in the Square

Sculpture in the Square sign
Field Day 2, Barry Flanagan
St. James's Square
8th June 2018, 12:32
iPhone 7+, 4mm (28mm)
1/540 sec; f/1.8; ISO 20
Cat. 3,800

Quote from Christie's

A one-minute walk from Christie’s London, our annual Sculpture in the Square exhibition showcases large-scale and monumental sculpture from the 20th century in the peaceful surroundings of St James’s Square. All of the works in this outdoor exhibition feature in our forthcoming 20th Century Week auction series, with artists including William Turnbull, Lynn Chadwick, Barry Flanagan, Tony Cragg, Elisabeth Frink and Emily Young. Christie's

Elisabeth Frink

in Memoriam III and Walking Madonna

Green Ted with in Memoriam III, Elisabeth Frink
in Memoriam III, Elisabeth Frink
St. James's Square
8th June 2018, 13:17
iPhone 7+, 4mm (28mm)
1/230 sec; f/1.8; ISO 20
Cat. 3,810-15

Green Ted with Walking Madonna, Elisabeth Frink Green Ted with Walking Madonna, Elisabeth Frink Green Ted with Walking Madonna, Elisabeth Frink in Memoriam III, Elisabeth Frink, label Walking Madonna, Elisabeth Frink, label

Two by Elisabeth Frink, in Memoriam III and Walking Madonna. The latter was also seen at Salisbury Cathedral.

Cautha, Emily Young

Green Ted and Cautha, Emily Young
Cautha, Emily Young
St. James's Square
8th June 2018, 13:08
Fuji X-M1, 16-50mm @ 26mm (38mm)
f/5.6; ISO 800
Cat. 3,820-21

Cautha, Emily Young, label

One more Emily Young head for the day - there were several others on the previous page.

Jubilee IV, Lynn Chadwick

Green Ted and Jubilee IV, Lynn Chadwick
Jubilee IV, Lynn Chadwick
St. James's Square
8th June 2018, 12:43
Fuji X-M1, 16-50mm @ 16mm (24mm)
f/5.0; ISO 800
Cat. 3,830-32

Jubilee IV, Lynn Chadwick Jubilee IV, Lynn Chadwick, label

Another Chadwick was encountered a little earlier at Fortnum & Mason. There was also one of these at Salisbury Cathedral.

Queen 2, William Turnbull

Green Ted and Queen 2, William Turnbull
Queen 2, William Turnbull
St. James's Square
8th June 2018, 13:13
Fuji X-M1, 16-50mm @ 16mm (24mm)
f/5.6 ISO 800
Cat. 3,840-43

Queen 2, William Turnbull detail Queen 2, William Turnbull, detail Queen 2, William Turnbull, label

Quote from the Christie's catalogue.

Created in 1988, Queen 2 is a key work from Turnbull’s later years which saw a reprise of the mysterious totemic bronze works the artist had first experimented with thirty years before. Elegant in its height, shape and delicate slenderness, Queen 2 takes its form from a variety of inspirations. Commentators have pointed to the natural forms similarly explored in Leaf Venus, but also to sacred ritualised objects found in distant cultures. Most notably, art historian Roger Bevan has likened the pointed teardrop shape to a ‘churinga’: a totem used by Aboriginal tribes in Australia. Marked with complex codes and symbols, these sacred objects are used within celebrations to communicate and present the history of their community, as well as passing on mystical knowledge.
Symbols similarly adorn Queen 2: the elongated bronze spear-head shape has intricate and abstract marks carved into the front, as though relics from an ancient and lost language, with no key to decode them. Amongst these markings, three triangular shapes stand out, forming what could be read as a representation of the female body, or even a facial structure. The anthropomorphic title Queen 2 also alludes to the strongly minimalist reduction of the human form, in this case a towering and elegant queen figure. This simplification of form, and subtle hints at features, such as the suggestion of a nose, or subtle pinning in of a waist, is typical of his sculptural work, and encourages the viewer to draw closer in order to complete their interpretation.
The linear connecting triangles on the surface of Queen 2 have become a motif much repeated in his iterations of the feminine form. They appear also in Large Spade Venus, 1986; Queen 1, 1987; Large Paddle Venus, 1988; Idol, 1988 and Female Figure, 1989 (sold in these Rooms, 26 June 2017, lot 41, for £497,000). The more complex, almost hectic interrelated lines also carved into Queen 2 are reminiscent of earlier works such as Screwhead, 1957, which has similarly rough lines etched into the surface, bringing together triangles, grids and panels of blank space. Amanda A. Davidson wrote of this mark-making ‘the sculptures invite the viewer to read them while refusing to supply the code to the signs, thus the works open themselves up to multiple and uncircumscribed narratives’ (A. Davidson, The Sculpture of William Turnbull, Much Hadham, 2005, p. 65). Turnbull himself described these geometric markings, which are often mysteriously referential to other markings in his past work, as ‘a symbolic way of taking your eyes around the sculpture’ and has drawn a comparison between the markings and tattoos, commenting, ‘from the very beginning of time, people have decorated their bodies. They tattoo themselves, they paint their eyes and lips’

Red Figure, Tony Cragg

Green Ted and Red Figure, Tony Cragg
Red Figure, Tony Cragg
St. James's Square
8th June 2018, 12:48
Fuji X-M1, 16-50mm @ 16mm (24mm)
ISO 800
Cat. 3,850-52

Red Figure, Tony Cragg Red Figure, Tony Cragg, label

Quote from the Christie's catalogue.

Tony Cragg's ongoing exploration of the material world reveals itself in this elongated and restless bronze form. At first glance, the viewer is encountered with a tall structure of switch-back, almost serpentine form, stretched and abstract multiple faces and heads. By precariously stacking and layering recognisable features of the human figure upward, then stretching these to distort the features and create a sense of dynamic movement and tension, the artist sets forth on an investigation of the depths of perception. With each contour, Cragg confronts the limits of his media and reimagines the classic bust, the result of which is an ethereal and minimal aesthetic. As the artist has explained, 'Making sculpture involves not only changing the form and the meaning of the material but also, oneself ... The popular and unhelpfully simplifying dichotomies of form and context, ugly and beautiful, of abstract and figurative, expressive and conceptual, dissolve into a free solution, out of which a new form with a new meaning can crystallise' (T. Cragg, In and Out of Material, Cologne, Germany, 2006). Red Figure demonstrates the artist's tendency to create an unnerving and curious, forceful yet dynamic, object that defies traditional notions of sculpture. Cragg acknowledges the tension in his work and reveals: 'I'm interested in somehow establishing some relationship with the materials and the things around me without using the preconceived notions of an already occupied language'

Barry Flanagan

Field Day 2, Boxing Hare on Anvil, Nijinski Hare

Green Ted and Field Day 2, Barry Flanagan
Barry Flanagan
St. James's Square
8th June 2018, Time
Fuji X-M1, 16-50mm @MM (mm)
Cat. 3,860-65

Green Ted and Boxing Hare on Anvil, Barry Flanagan Green Ted and Nijinski Hare, Barry Flanagan Field Day 2 label Boxing Hare on Anvil label Nijinski Hare Flanagan label

Quote from Wikipedia

Barry Flanagan was born on 11 January 1941 in Prestatyn, in North Wales. From 1957 to 1958 he studied architecture at Birmingham College of Art and Crafts. He studied sculpture at Saint Martin's School of Art in London from 1964 to 1966, and from 1967 to 1971 taught both at Saint Martin's and at the Central School of Art and Design.
Flanagan died on 31 August 2009 of motor neurone disease.
He was the subject of a biographical film by Peter Bach, The Man Who Sculpted Hares: Barry Flanagan, A Life.
'Poet of the Building Site' by Robin Marchesi. A book on his life with Barry Flanagan was published by The Irish Museum of Modern Art 2011. wikipedia

Also in the Square

Stag (2001) by Marcus Cornish
Stag, Marcus Cornish
St. James's Square
8th June 2018, 12:46
Fuji X-M1, 16-50mm @ 27mm (40mm)
ISO 800
Cat. 3,870-71

William III (1807) by John Bacon

A couple of pieces are also permanent residents of the Square, William III (1807) by John Bacon, Jr. and Stag (2001) by Marcus Cornish. I had intended to take a specific shot of Bill, but failed to do so. The quotes are from Wikipedia.

[Stag was] Commissioned by the developer Patrick Despard for Cleveland House, St James's Square. As the sculpture did not find favour with the building's occupants, it was presented to the trustees of the square.
[Bill 3] Very likely to a design of the sculptor's father John Bacon, Senior, dating to 1794. The design is probably inspired by John Michael Rysbrack's equestrian statue of William III in Queen Square, Bristol. wikipedia