Isamu Noguchi Locks Gallery

Isamu Noguchi
Untitled, 1945
unique slate
20 1/4 x 10 1/2 x 6 1/2 inches


Ossip Zadkine Locks Gallery

Ossip Zadkine
Accordeoniste, 1924
height: 18 inches


Alexander Calder Locks Gallery

Alexander Calder
Very Crinkly, 1969
painted metal and wire
31 x 52 x 15 1/2 inches

Isamu Noguchi Locks Gallery

Isamu Noguchi
Sky Above, 1988
bronze with marble base
27 3/4 x 25 3/4 x 10 7/8 inches

Isamu Noguchi Locks Gallery

Isamu Noguchi
Untitled, 1946
unique slate
19 x 10 x 8 inches

Louise Bourgeois Locks Gallery

Louise Bourgeois
Persistent Antagonism, 1949
bronze, cast 1991
70 x 12 x 12 inches

Julio Gonzalez Locks Gallery

Julio Gonzalez
Tete dite 'Le tunnel' (Head Called "The Tunnel"), 1934
bronze with dark brown patina
height: 18 inches

Louise Bourgeois Locks Gallery

Louise Bourgeois
Portrait of Jean Louis, 1949
painted bronze, cast in 1991
35 x 3 x 3 inches

Reg Butler Locks Gallery

Reg Butler
Girl on a Round Base II (Opus 216), 1964
19 1/2 x 20 1/2 x 20 inches

Alexander Archipenko Locks Gallery

Alexander Archipenko
White Torso, 1916
bronze with dark green patina
18 3/4 x 5 3/8 x 5 3/8 inches

Press Release

Locks Gallery is pleased to present Standing on the Edge: 20th Century Sculpture, on view April 1st through May 13th, 2011. There will be an opening reception on Friday, April 1st, from 5:30 to 7:30pm.
Standing on the Edge explores the sensation of vertigo and the fragile balance of an individual when facing war, the forces of Nature, or nostalgia. The exhibition gathers three groups of standing sculptures with elongated forms by Louise Bourgeois and Isamu Noguchi, as well as a mobile by Alexander Calder, a table piece by Anthony Caro and figures by Alexander Archipenko, Reg Butler, Lacques Lipchitz, Roberto Matta, Auguste Rodin, and Ossip Zadkine.
Louise Bourgeois’ Persistent Antagonism (1949) and Friendly Evidence (1950) are among the first sculptures she made upon arrival in New York. She said that she was sculpting her emotions by shifting the pain onto the sculpted material. She was experiencing deep homesickness, as she was isolated from her family and especially missing her son. She portrayed him in Portrait of Jean-Louis (1947-49) with two legs suggesting fragility and the ranges of windows in the upper part evoking a house.
Isamu Noguchi's slate sculptures date from 1945-46, with society coping with the horrors of World War II and when the artist began to experiment with free association and the intuitive methods of the Surrealists. The intertwined shapes of thin stone slabs evoke the fragility of the human psyche and the uncertainty stemming from the world at war. He describes them as memories of humanity: “The very fragility gives a thrill… It’s like life - you can lose it at any moment.” (I. Noguchi, March 1960)

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