While on my travels through the vast Intranet; I stumbled across an article in the archives of from the March 2005 issue of Sculpture Magazine Vol.24 No. 2. The article is titled "Judith Shea: Seven Characters on the Verge of a revelation". This being my first sojourn into the Bloggosphere I really went into this one wanting to sink my teeth into some injustice or at least get really snooty and critical about my first find. Much to my chagrin I found myself drawn into the meat of the article particularly the philosophical musings of the artist as she was interviewed. Though, I would have to say that as a figurative artist myself, I was left a little luke warm about the actual quality of the figures that Judith Shea sculpts. What did strike me ,however, was the undeniable spiritual aura surrounding all of her figures as well as classical religious iconography references. Keep reading...What really impressed me about her work was that although she would not consider herself religious she feels the undeniable impact of religion on art. In the article she had very definite insights into the personalities and emotions of the classical artists as it pertains to their ability to express themselves within the confines of their religious patrons needs. Shea says, "With Bernini, there was tremendous passion but also tremendous fun in his works. Sometimes, even the passion is tongue-in-cheek... I looked at all his sculptures, not just the saints but also his mythological figures." As an example of that master's all-stops-out approach to non-saintly subject matter she cited the erotically charged abduction depicted in Pluto and Persephone in Rome's Borghese Gallery . "What you have with Bernini is this constant explosion. In the religious commissions, he goes to the limit of martyrdom and to the limit of passion; in pieces like the Persephone, he goes to the limit of aggression, to the limit of sex. With Michelangelo, it was a very different set of emotions. It's not fun. His sculpture is also passionate, but it has a much darker nature. He didn't represent acts of martyrdom the way Bernini did. I think on some level, he felt too much personal pain, and that's expressed in his work. There is certainly high drama about it, I'm thinking about The Dying Slave, but I wouldn't call it theatrical. What I ended up feeling was that both artists were communicating, whether consciously or unconsciously, their experience of life more than anything else." If this brief glimpse of this article peaks your interest I would encourage you to check it out here. The Judith Shea exhibit "Statues" was at the John Berggruen Gallery in New York, NY. These types of insites about the nature of art and artists are what I feel are missing in the Contemporary Art dialog. Over the course of this column I will scour the Bloggosphere for more inspirational gems. Until next time...

hey brian the link to the article under "here" is not finding the URL>
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