A beautiful female, full-length figure is represented, either as a 3D sculpture or bold bas relief. The sculptor chiseled the marble with pink veins in a very anatomically precise way.

Result #1

The result is a delicately carved object with a glazed look that makes it appear almost gelatinous. This terra incognita, that fragile remnant of form, is beautiful. In its display, the piece was both reassuring and unexpected.The A. W. Cornell retrospective consisted of a large group of early American objects—a rocking horse, a saw, a canvas sculpture, a toy for a child—but also a small group of past objects. The only first-class pieces were the paintings. There is no question that the art-historical significance of the works is extraordinary. Art is a labor of the mind and the mind is a labor of the body. . . . Yet, while the work of art looks so good, in the end, it is the body that is most important. The body is an intelligent thing, and art is a body of ideas.Bretts A. W. Cornell includes, among many things, a large group of old canvas works—colors that had not yet been developed, and some of them are stunning. There are obviously no new works in these groups. These early works are delightful, but the ones that are new are interesting. The effect is more than an observation; it is an attempt to piece the world together in a completely new way. . . . A substantial number of art historians, authors and collectors were represented in this exhibition. One is particularly proud to have had the opportunity to meet so many distinguished individuals, some of whom I never saw in person. The quality of the work is very high. The surfaces are beautiful and the quality of the paint is exceptional. The work is clever and clever but still somewhat on the edge.

Result #2

A beautiful female, full-length figure is represented, either as a 3D sculpture or bold bas relief. The sculptor chiseled the marble with pink veins in a very anatomically precise way. This particular statue, like a rite of passage for the female sculptor, should be considered an ode to depth and a source of beauty for all to learn from. All of the watercolors and drawings in the show were made up of the same painstakingly designed but seldom seen materials. Although the result of careful selection of materials, it is worth noting that very few of the works were produced from hand-painted pigment or cloth; they were rather hand-produced sculptures, and in some cases, such as the recently created hand-held Möbiuskulptur, the paint was applied with precision and precision at times, but not always, before the work was photographed. The dichotomy of process and result in the series of series of hand-made sculptures in the show is clear. If the pieces are functional, they are sculptural objects; if they are decorative, they are not. The work in the show was made from carefully selected materials and to an exacting standard. Perhaps not surprisingly, the collections of contemporary sculpture in the museum are very rich. These collection consists of the finest examples of a few sculptors. The gallery collection is of some one hundred pieces and the collection of some one thousand. Each piece is carefully considered by the curator and his staff, and the selection of the artists has been found to be relevant. The critics and critics are as knowledgeable about the art world as the collectors and curators are about it. All the pieces are in good shape, and the paint is a rare commodity. In the hands of the best craftsmen, the paint can have its exacting beauty. They make very high quality sculptural objects, usually in stained glass and covered with silkscreened leather that gives them a fine quality of beauty. The hand is used in all these pieces to create the shimmer of natural light.

Result #3

A beautiful female, full-length figure is represented, either as a 3D sculpture or bold bas relief. The sculptor chiseled the marble with pink veins in a very anatomically precise way. The skin is white and smooth, almost viscous. Glues are used to tightly bond the enameled skin to the glass. It was obviously meant to look like metal.The artists woman, in the end, was only a figure, a ghost. Her face was almost black and white and her body had a very unnatural look, almost as if the body had disintegrated in the space. Such an atmosphere was also a point of view: a woman who looked like a ghost was attached to the pedestal and was wearing a glowing necklace, but no longer existed. These women existed only as images and as a fantasy, as a distillation of her own existence.As a result, the scenes were reduced to a kind of metamorphosis, into an evocation of the body, as a peculiar image.  A woman who stood there, her head on one side, her right hand raised in prayer, looked like a ghost or a mummy. She wore a satin kimono and black silk stockings, looked extremely ugly, and appeared to be experiencing some unusual sexual urges. She seemed to be undergoing some bizarre trance, as if she were trying to enter a trance zone. Her skin became a dense, thicketlike thing, and a radiant white light illuminated her body. Even when the women were standing in the shadows, they looked like they were being found. We were witnessing a strange scene of resurrection, and it was these images which brought the story full circle. The mythological aspect of these scenes was almost a perverse one, a disturbing dimension, a power we couldnt resist experiencing.For me, the most startling image in the show was an electrifying pair of sculpture pieces. The first, a pair of square steel plates, were painted black. The second, a wood-paneled sheet with a live black cat, stood on a pedestal in the main gallery. This piece was part of the series titled Tower of Babel, 1988.

Result #4

A beautiful female, full-length figure is represented, either as a 3D sculpture or bold bas relief. The sculptor chiseled the marble with pink veins in a very anatomically precise way. The work was inspired by a drawing of a nine-year-old girl, which  heavily emphasized the folds of the breastbone and exposed the underdeveloped, breast-related region of the body. The result is a female form that has a perfectly straight, clean, light, and defined neckline. The back of the head is uncovered, as is the upper portion, and the right-hand side is uncovered. The result is a kind of nude or nude-like appearance. The lower body is also fully uncovered, and the skin on the back of the head is often pink. The total effect is a soft and delicate, but not heavy, one. The body is quite frail and fragile, but not in an unpleasant way.One of the most interesting sculptural elements in the show was a table that shares its basic characteristics with a more corporeal-looking object: two broken pieces of wood and two pieces of slate. The tables surface is smooth, slightly pitted, and lusciously colored, with a rich and vibrant hues. These colors allude to a pretty color tradition, dating back to the 19th- and 20th-century American imagination. The two pieces of slate seem to have been used in their original finish, and yet they are painted black. The work appears to be a transparent, black metallic color in contrast to the lighter blue, red, and yellow tones. A variation of the same black is applied to the broken pieces of wood. The works color also seems to be a reference to the mahogany of the first wooded blocks. The mahogany blocks are traditionally used to hold blocks of pure black wood in place, but the colors in this show are enhanced by various natural associations. The matte, rust-colored plates give the wooden block look, as if the blocks had been treated with the same protective coatings as some other types of wood, or some other metal.

Result #5

An alternative to this monstrous head and torso, was a male sculpture made of slate, gray wood, and ivory pieces. These sculptures seemed to stand for the subjects of sculpture, sculptors in their desire to make good work. Or at least, the sculptors were in the habit of making good sculpture. Somehow, the figures were attractive and important. In this contemporary Europe of statuary, it is amazing how much the sculptor is able to tell. Walter Scott, in his catalogue essay, in these pages in 1967, makes this art about the subject. "The complete development of this method of working is a subject matter of many artists and collectors, but among the most familiar is the sculptor, who takes the subject of his sculpture as an individual subject, with the most exalted possible level of respect and esteem for his process and his thought. The artist is impressed by the flexibility, self-reliance, and sensitivity of the human body. The sculptor has a great deal of freedom to choose a method for making the body work and to put it together to make a new sculpture. Sculptors of the moment in America were not constrained by the strictures of conventional sculptors of their time. . . . The sculptor is free to invent a sculpture of any kind and to use it as he sees fit. In this exhibition, all the sculptures were equally wonderful. In one, a small statue stands at the entrance to the gallery, surrounded by the entire array of hardworking, intelligent, and passionate people who are part of the social scene of the day. It was an incredibly beautiful sculpture, and was a landmark in the history of American sculpture. That it was made by such a small and talented sculptor must be a testament to the great esteem and respect in this country for human capabilities.