MICHAEL Loveland

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Loveland’s newest sculptures explore the status of the pedestal in contemporary art strictly as a tool to present a sculpture, to clarify what is and what is not an art object, and to signify the importance of what is being displayed. The pedestal has been undermined in modern art history since Constantine Brancusi’s sculptures of the early 20th century. Most of Loveland’s work subversively complicates the duality of the pedestal/art object relationship. With these ideas of placement and presentation Loveland’s work takes on a new light when made from everyday objects such as parking curbs and old painted wood signs. He has been adding human figurines of various shapes and styles as well to introduce ideas of scale. By making the smaller parts of the work larger in comparison to the figures with the juxtaposition to their surroundings, he creates an interesting dialogue among all of the elements. With these newest works Loveland is encouraging the viewer to recognize the essence and marked interest in materiality and the painstaking effort of creating an object both seemingly casual and formally rigorous.

Balance, 2009

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