The Spring 2014 issue’s theme is ‘Color: A Fourth Dimension in Sculpture’. The issue explores how color is an integral component in sculpture through examples of work by Manuel Neri, Harry Jackson, Roger Reutimann, James Tisdale, Deon Duncan, Magda Gluszek, and Victoria Rose Martin. A main article by Wolfgang Mabry discusses work by Willy Verginer. ‘Red’ by Lois Swirnoff explores the emotions produced by the color red and sculpture that uses the color.
The question asked, why is red the preferred color, used more frequently than any other hue by graphic designers, for signage, TV commercials, and other applied arts? To explain this propensity, begin with a question; what is Color?
In recent years we have all been made acutely aware of the impact environmental issues have on the balance of the Earth’s climate and its inhabitants. Several museums around the country have dedicated exhibitions addressing these urgent issues.
Willy Verginer decided early in life to be an artist. While on a walk with his father in one of the many breathtakingly beautiful valleys of South Tyrol, Italy, the young Willy noticed a man painting en plein air. He asked his father what the man was doing. “He is an artist,” said his father. “I want to be an artist,” said Willy.
Bright, bold, daring, jarring. Color in sculpture has a wide range of uses. It can add meaning, substance, texture, and gravitas – or it can lend a sense of whimsy, quirkiness, and humor. Indeed, color is a powerful tool that defines how viewers experience sculpture…