Monday, December 5, 2011

Petah Coyne Final Research Statement


The focus of my research project is Petah Coyne. She is a well-known and respected sculptor whose medium and subject matter are as astonishing as the pieces themselves. Coyne was born in Oklahoma City in 1953. In 1973 she attended Kent State University in Ohio and furthered her artistic education in 1977, when she studied at the Art Academy of Cincinnati. Through the use of wax, silk flowers and taxidermy, she creates fairy-tale, “Alice in Wonderland” pieces that make the viewer think, feel, and gaze in awe.
When you look at one of Coyne’s sculptures, you can clearly see the complexity and emotion that went into it. A piece titled “Dante’s Inferno”, after the famous novel, depicts the mood of the story but not literally; black wax, deep burgundy silk flowers and stuffed geese are used to display the nightmare-like state you feel when you read it and yet the beauty of the book itself.
            Coyne’s Catholic background also comes easily into play in her work. The larger-than-life, rich and almost Victorian extravagancies of the Roman Catholic Church are evident in her style. Beauty and grace frame her pieces as the delicate intricacies weave their way through each work, they reflect the style and wealthy depth that one might see in a Catholic cathedral’s architecture. However, it is not only the visual aspects of Coyne’s work that embody a Catholic air, some of her pieces are based on the practices of the Catholic church. In one particular installation, titled “Alter Mary”, the piece is actually sitting in a church-like setting, with stained-glass windows and stone-like walls. In this piece, she pays tribute to the love of a mother and child like Mary and Jesus’.
            In my research, I have found that Coyne is a well-known artist and is respected for her brave choice of materials, subject matter, and skill. As previously stated, she studied at the Art Academy of Cincinnati when she was twenty-four. She was highly influenced by the literary works of Flannery O’Connor, a Catholic writer who often utilized larger-than-life characters and settings and was considered “southern gothic”. In 1989, she was the recipient of the “John Simon Guggenheim Foundation Fellowship” grant, a prestigious award. I’ve learned that Coyne collaborates with a chemist to create a special wax that will not melt until it hits one hundred eighty degrees. Coyne has had many solo and group exhibitions at various prestigious venues including; Mass MoCA, the Cincinnati Art Museum, Kilkenny Castle in Ireland, and Galerie Lelong in New York. Coyne was home schooled and is married. She does not focus on popular contemporary art movements such as, anatomy and politics, but on the things that are important to her and that look glorious.
            This research assignment has taught me so much about so many things. From designing a blog to learning more about Oklahoma City, I’ve learned a lot about research, Catholicism, and most of all, Petah Coyne. She is an amazing artist and a very interesting person with a crazy and chaotic childhood that has inspired the beautiful work she’s done today. I’ve never heard of her before this assignment but I’m glad I chose Coyne, she’s opened my eyes to so much and helped me explore the religion we share, I hope to return the favor one day.

Link to: Catholic.org

http://www.catholic.org/

From: Info Please-History of Sculpture

History

Ancient Sculpture

Sculpture has been a means of human expression since prehistoric times. The ancient cultures of Egypt and Mesopotamia produced an enormous number of sculptural masterworks, frequently monolithic, that had ritual significance beyond aesthetic considerations (see Egyptian artAssyrian artSumerian and Babylonian artHittite art and architecturePhoenician art). The sculptors of the ancient Americas developed superb, sophisticated techniques and styles to enhance their works, which were also symbolic in nature (see pre-Columbian art and architectureNorth American Native art). In Asia sculpture has been a highly developed art form since antiquity (see Chinese artJapanese artIndian art and architecture).
The freestanding and relief sculpture of the ancient Greeks developed from the rigidity of archaic forms. It became, during the classical and Hellenistic eras, the representation of the intellectual idealization of its principal subject, the human form. The concept was so magnificently realized by means of naturalistic handling as to become the inspiration for centuries of European art. Roman sculpture borrowed and copied wholesale from the Greek in style and techniques, but it made an important original contribution in its extensive art of portraiture, forsaking the Greek ideal by particularizing the individual (see Greek artEtruscan artRoman art).

Western Sculpture from the Middle Ages to the Seventeenth Century

In Europe the great religious architectural sculptures of the Romanesque and Gothic periods form integral parts of the church buildings, and often a single cathedral incorporates thousands of figural and narrative carvings. Outstanding among the Romanesque sculptural programs of the cathedrals and churches of Europe are those at Vézelay, Moissac, and Autun (France); Hildesheim (Germany); and Santiago de Compostela (Spain). Remarkable sculptures of the Gothic era are to be found at Chartres and Reims (France); Bamberg and Cologne (Germany). Most of this art is anonymous, but as early as the 13th cent. the individual sculptor gained prominence in Italy with Nicola and Giovanni Pisano.
The late medieval sculptors preceded a long line of famous Italian Renaissance sculptors from Della Quercia to Giovanni da Bologna. The center of the art was Florence, where the great masters found abundant public, ecclesiastical, and private patronage. The city was enriched by the masterpieces of GhibertiDonatello, the Della Robbia family, the Pollaiuolo brothers, Cellini, and Michelangelo. The northern Renaissance also produced important masters who were well known individually, such as the German Peter Vischer the elder, the Flemish Claus Sluter, and Pilon and Goujon in France.
In France a courtly and secular art flourished under royal patronage during the 16th and 17th cent. In Italy the essence of the high baroque was expressed in the dynamism, technical perfection, originality, and unparalleled brilliance of the works of the sculptor-architect Bernini. The sculpture of Puget in France was more consistently Baroque in style and theme than that of his contemporaries Girardon and theCoustous.

Modern Sculpture

The 18th cent. modified the dramatic and grandiose style of the baroque to produce the more intimate art of Clodion and Houdon, and it also saw the birth of neoclassicism in the work of Canova. This derivative style flourished well into the 19th cent. in the work of Thorvaldsen and his followers, but concurrent with the neoclassicists, and then superseding them, came a long and distinguished line of French realist sculptors from Rude to Rodin.
Rodin's innovations in expressive techniques helped many 20th-century sculptors to free their work from the extreme realism of the preceding period and also from the long domination of the Greek ideal. In the work of Aristide Maillol, that ideal predominates. The influence of other traditions, such as those of African sculpture and Aztec sculpture (in both of which a more direct expression of materials, textures, and techniques is found), has contributed to this liberation (see African art).
Among the gifted 20th-century sculptors who have explored different and highly original applications of the art are sculptors working internationally, including Pablo Picasso, Constantin Brancusi, Jacques Lipschitz, Naum Gabo, Antoine Pevsner, Ossip Zadkine, Alberto Giacometti, and Ivan Mestrović. Important contributions have also been made by the sculptors Jacob Epstein, Henry Moore, and Barbara Hepworth(English); Aristide Maillol, Charles Despiau, and Jean Arp (French); Ernst Barlach, Wilhelm Lehmbruck, and Georg Kolbe (German); Julio González (Spanish); Giacomo Manzù and Marino Marini (Italian); and Alexander Calder, William Zorach, David Smith, Richard Lippold, Eva Hesse, and Louise Nevelson (American).
An element of much modern sculpture is movement. In kinetic works the sculptures are so balanced as to move when touched by the viewer; others are driven by machine. Large moving and stationary works in metal are frequently manufactured and assembled by machinists in factories according to the sculptor's design specifications.


Read more: sculpture: History — Infoplease.com http://www.infoplease.com/ce6/ent/A0860991.html#ixzz1fizHrB84

Link to: City of Oklahoma City

http://www.okc.gov/

From: Taxidermy.net

What is Taxidermy?
Taxidermy is a general term describingthe many methods of reproducing a life-like three-dimensional representationof an animal for permanent display. In some cases, the actual skin (includingthe fur, feathers or scales) of the specimen is preserved and mounted overan artificial armature. In other cases, the specimen is reproduced completelywith man-made materials.
The word "taxidermy" isderived from two ancient Greek words; taxis, meaning movement; andderma, meaning skin. Therefore, loosely translated, taxidermy meansthe movement of skin. This is a fairly appropriate definition as many taxidermyprocedures involve removing the natural skin from the specimen, replacingthis skin over an artificial body, and adjusting the skin until it appearslifelike.
One-half of a mounted deer head to show what's underneath.Themodern practice of taxidermy incorporates many crafts, such as carpentry,woodworking, tanning, molding and casting; but it also requires artistictalent, including the art of sculpture, painting and drawing. In a moderndeer head mount, for example, the only natural parts of the animal usedare the antlers and the skin. All of the other organs and tissues are recreatedwith man-made materials. The eyes are made from glass, the eyelids aresculpted from clay, the soft tissues of the nose and mouth are sculptedfrom epoxy or wax, and the mannikin or "form" (which incorporatesthe anatomy of each muscle and vein) is made from polyurethane foam.
Sailfish re-creation from man-made materials.Today,some taxidermy mounts (most notably saltwater fish) do not contain anyparts of the animal at all. They are completely re-created from man-madematerials. This is ideal for catch-and-release anglers, who can releasetheir gamefish unharmed, and can still have a life-sized trophy producedfrom a good color photo and measurements.
Works of taxidermy are displayedin museums, educational institutions, businesses, restaurants, and homes.There are many different methods for producing mounts (or re-creations)of different species. 

From: Werner Studio- Redefined Petah Coyne

Friday, January 23, 2009

From: Leslie Scalapino- About the Artist, Petah Coyne

ABOUT THE ARTIST, PETAH COYNE


In Untitled #1336 (Scalapino Nu Shu), 2009-2010, an apple tree covered in black sand is populated with taxidermy pheasants and peacocks. Peacocks were important to Flannery O’Connor, who wrote about and raised them, and saw them as symbols of renewal and the “eyes” of the Catholic Church. The peacocks in Coyne’s tree are brilliant, but rather than preening they seem strangely frozen in time, anticipating. This sense of waiting is embodied in Nu Shu, a centuries-old Chinese writing technique solely for women and used to secretly express loneliness and fear. Knowing this back story gives Coyne’s peacocks something to anticipate—a story told in secret writing to an intimate friend. The title of the work references Coyne’s own friendship with the poet Leslie Scalapino.
Denise Markonish, curator, MASS MoCA, North Adams, MA
Petah Coyne
Untitled # 1336 (Scalapino Nu Shu), 2009–2010
Apple tree, taxidermy Black Melinistic Pheasants, taxidermy Blue India Peacocks, taxidermy Black-Shouldered Peacocks, taxidermy Spaulding Peacocks, black sand from pig iron casting, Acrylex 234, black paint, cement, chicken wire fencing, wood, gravel, sisal, staging rope, cotton rope, insulated foam sealant, pipe, epoxy, threaded rod, wire, screws, jaw-to-jaw swivels
158 x 264 x 288 inches (401.3 x 670.6 x 731.5 cm)
Collection: Kemper Museum of Contemporary Art, Kansas City, Missouri
© Petah Coyne
Courtesy Galerie Lelong, New York
Photo © Elisabeth Bernstein
Scalapino Nu Shu