A Quote by John Lurie

The thing with sculpture is, 90% of the time, when I pass a piece of sculpture, it's in public or somewhere, and it's just, how inconvenient that that's there. It takes up so much room, and it's so oppressive.
I really don't have a theme when I start a sculpture. The rock guides me to the final sculpture. I think that is true for many creative sculpture artists.
Once I have the finished sculpture, I’ll put it out on the street or in nature or somewhere where it interacts with the environment. Really it’s kind of the idea of turning the street into a stage and this sort of urban theater has a life of its own. If you have creative drive, and you need to manifest it, then you need some sort of medium to do that through. For me, it worked out with sculpture, and tape just is a means of doing sculpture.
First of all I think of puppets as sculpture. They are sculpture that moves. You could label it any way you want, but for me it always starts in my mind as a sculpture.
In Giacometti's work, the armature has once again become the life-line of the sculpture, and also, he's brought back to sculpture a nervous sensitivity which the 'pure carving' side of sculpture can lose sight of altogether.
I paint - I tend more to abstraction - but not as much as I would like to because of time. I would love to do sculpture - I've toyed with the idea of fitting in a sculpture course.
Sculpture is an art of the open air... I would rather have a piece of my sculpture put in a landscape, almost any landscape, than in, or on, the most beautiful building I know.
So, in other words, how you respond to a sculpture, how a viewer sees the sculpture, is vital.
I had no intentions of going into sculpture but found that sculpture was just an extension of drawing.
Interfacing street sculpture in public space creates an installation environment that turns regular space into art space. Signs and people and everything around a street sculpture-they all become part of it. A two-dimensional work, being confined to surfaces, doesn't have as much of a capacity.
I'd been to Stourhead and was inspired by the perfect parity between architecture and art; in fact, the architecture is the art. I wrote a piece called 'Not Sculpture Park,' because most of these things become car parks for bought-in sculpture. The artists should be working with the site, not just plonking pieces down.
Man is really not freeing many aspects. He is dependent on his social circumstances, but he is free in his thinking, and here is the point of origin of sculpture. For me the formation of the thought is already sculpture. The thought is sculpture.
A sculpture is just a painting cut out and stood up somewhere.
After painting comes Sculpture, a very noble art, but one that does not in the execution require the same supreme ingenuity as the art of painting, since in two most important and difficult particulars, in foreshortening and in light and shade, for which the painter has to invent a process, sculpture is helped by nature. Moreover, Sculpture does not imitate color which the painter takes pains to attune so that the shadows accompany the lights.
I really have to think of myself as a painter first because sculpture came much, much later. As a student at the Art Institute in Chicago, I simply never became involved in sculpture. I did prints, and I did paintings.
That sculpture is more admirable than painting for the reason that it contains relief and painting does not is completely false. ... Rather, how much more admirable the painting must be considered, if having no relief at all, it appears to have as much as sculpture!
I don't want to make plop art — sculpture that just gets plopped down in places. I wouldn't want to litter every corner of the world with my sculpture.
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