PORTAL PROJECT BEGINS...

PORTAL PROJECT;





I stood between the columns of Canova's Tempio in Possagno, looking out over the Veneto countryside. It was a cool July evening just before sunset, when the light is fluid and perfect and everything looks like it’s taken from a Renaissance painting. The light shone a glorious golden hue on the columns and the sky arced overhead, brilliant and azure. It struck me that I was part of an incredibly beautiful scene.



            It was far more than a visual experience. The energy of the place seeped into my bones and a sense of unlimited possibility and peace swept over me. I felt that I was part of something greater than myself.



            Earlier that day I had spent hours alone in the Canova Museum, carefully studying and absorbing the energy of being surrounded by a lifetime of work created by the neoclassical sculptor Canova. His sculptures emanate a sense of correctness; I knew that I’d been guided there for some greater reason than to be a tourist in Italy gawking at the art.



            Canova's Tempio was the focal point of the surrounding community. When it was built at the highest point of the town where Canova was born, the Tempio was a powerful representation of how the people of Possagno wanted to be portrayed. It spoke of the greatness of their culture. It conveyed pride and unity. It was a magnificent architectural sculpture that brought the community together, uplifting and transforming them, just as it uplifted and transformed me.



            When I returned to New York, I vowed that I would bring the same transformational feeling to my next project, one that would serve and be the focal point for a community today, just as Canova’s had been.



            So I got to work on the drawings to put the concept into a visual idea. I was inspired by the Renaissance concept of an entrance into a better world, the divine world, and communion with God. In those times, it was thought that one could only reach this glorious state of being in the afterlife.



            I decided to take this traditional theme and shape it to fit our contemporary times.        Rather than focusing on the afterlife, I decided to focus on this life and all the possibility it holds in each moment. In my drawings, the portal or doorway is on earth. Stepping through this doorway, you are still on earth. This is a way of stating that the divine can be found on earth, as I experienced in Italy when I realized that I was truly in heaven here and now, at this precise moment “now” in my life. My trip to Possagno helped me see that the perception of reality and possibilities is created by what I believe. What I see is driven by my beliefs.



            In my drawings for the community project, a female figure stands on each side of an open portal. They are clothed, and their drapery travels over their bodies in a spiral movement, just like a DNA helix or the cochlear form that recurs everywhere in nature, from shells to galaxies. That spiral repeats in their gestures and anatomy, which are built from an upwardly moving spiral force, and travels visually through the body. So the figures are constructed, proportioned, and structured to mimic the incredibly brilliant way the universe is designed.



            The gestures are chosen to represent how we can deal with our human condition. The poses and morphologyrepresent a higher level of consciousness. The body acts like an accordion compressing under the weight of gravity; the bodies are designed to show this compression. They are arced in a giant C curve. The arms press down on the heads, similar to an architectural caryatid of ancient times.



           There is a resonance with the great lineage of sculpture through time, but these figures are thoroughly modern: they carry a serene awareness of their weight. The stand leg is firmly grounded in the present while the other foot is lifted to show the potential for change and movement. There is a balance between the weight that their existence creates, with the feeling of potentiality and luminosity that they carry. The brightest parts of the figure will be their hearts because their sternums face up towards the light.



            These two sibyls, or prophets, gracefully hold the energy together like a vessel, directing the energy toward the middle of the portal. The size of the portal is also expansive in its relation to the figures, because it represents our human potential.


20 inch high figures started and in process.

Gehry/Eisenhower Polemic

I wanted to share the latest article about the Gehry/Eisenhower polemic written by my wife Traci L. Slatton: "Ongoing Chicanery with the Gehry Memorial."

Here's the link.

Daniel Maidman's New Article on Sabin Howard Figure Drawings

Thought I'd share Daniel's new article on his blog. Daniel Maidman making art and thinking about art: Art and Artists III: Forms of Beauty.

 It is a construction: Howard constructed it based on his knowledge of anatomy, and the theory of the body he has derived from that knowledge. As he puts it, "I wanted to do more experimentation with the conceptualization of the body in geometric terms, how all the parts fit together. There is a lot about the architecture of the figure being the skeleton. And the musculature being the spinning organic element. As a sculptor I am an architect working with organic form."

The energy within the figure is manifested in the spiraling organic architecture of the body. The morphology becomes a blueprint for the individual psychology of the being. It's uniqueness is created in a universal language that is understood by all because it is a representation of us as humans.

Figurative art should go beyond the rendering of the figure as if it were a still life.


These drawings are about showing a divine representation of us.

Secrets To Sculpting Dynamic Figures

I wanted to share a new 18 minute video on Anatomy at www.uartsy.com 

The Problem With the Frank Gehry Memorial

Wanted to share an article that my wife, Traci L. Slatton wrote in The Huffington Post.

Here is the link 

Just click on link or article to view.

INTERVIEW: ABOUT ART

Thought I'd share the latest interview on art:

Listen to internet radio with Lillian Brummet on Blog Talk Radio

NEW CRITERION: Sabin Howard's 'Sculpting Gods'

Wanted to share the latest review of my sculpture show at THE NATIONAL ARTS CLUB. NEW CRITERION wrote a glowing post.

What happened with Frank Gehry on the Eisenhower Memorial

Last summer I visited the Lincoln Memorial for the first time in several years. I was struck by how visceral my reaction was. I walked into the shady, temple-like structure and I instantly felt at peace. I was uplifted. I felt like I belonged to something bigger than myself.

The powerful, gravity-hewn figure of Lincoln, surrounded by the beauty of the architecture, did its job. A monument must transform and uplift the visitor; it must impart to him a feeling of power and potentiality, of what can be. At that moment, I was proud to be an American sculptor who belonged to a tradition of grand importance.

Shortly thereafter, I received an email asking me to phone Gehry Partners ASAP. I was, again, deeply moved. It could not be an accident that I received this call so soon after my experience with the Lincoln memorial. I felt that I was in sync with my purpose in life. The sculptures that I would make would not only represent Eisenhower as a man of tremendous achievement, but would also represent our country at its best. I felt that I had spent almost thirty years, and tens of thousands of hours in my studio, to reach this moment. I had never followed the fads of the art world, but instead worked to create an art that was connected to the rich tradition of classical art, but had the dynamic, expansive energy of America. My art has always been a statement about our highest potential as human beings—about rising to the occasion.

On August 10th, I was flown to L.A. to see the project plans for the Eisenhower Memorial and to meet with Frank Gehry.

When I saw the memorial models, my heart sank. The project was trying to reinvent the wheel with newness, and it was missing the point entirely. Components were stiff and compartmentalized like a natural history museum exhibit. There was no focal point, but a lot of elements that did not work together to deliver a unified visual message.

How could I tell the famed Gehry that the design and sculpture of this project had to lead our world and to direct us towards our potential? The sculpture must serve as a focal point in a sacred space that transforms the viewer, just as Eisenhower transformed the world through his actions as a leader. Perhaps Gehry was unaware of what could be.

My first question to Gehry partners was: Did you bring me in to be your in-house sculptor, or are you asking me for my creative opinion and 30 years experience as a figurative sculptor? They replied that they were basically unhappy with their current design and that they wanted to know what I thought.

I was thrilled. I thought of the Lincoln Memorial and the sacred space with its elevated energy.

After lunch, we began the meeting with Mr. Gehry himself. I shared my thoughts.

I spoke of the need for a sense of hierarchy within the sculptures of Eisenhower surrounded by his troops. The format should be changed to a relief, in which Eisenhower is the dramatic focal point, which is accomplished in several ways. In a relief, the use of perspective creates depth, and ultimately scale, within the composition. Eisenhower would be sculpted in the foreground in high relief, almost in the round. The troops would be situated farther away, smaller, and in lower relief.

Eisenhower would not only stand out as more important, he would also be more luminous. He would spatially project out more and catch more light. The values of light falling on this part of the composition would create a clear hierarchy and focal point. He would be part of the men, and he would also stand out as their leader. Working extemporaneously with a partner, I created an ad-hoc composition that opened up the central space, eliminating a giant tree that stood in the center and blocked the view of the sculptures. I cut wood blocks that took a horizontal composition and made it vertical.

I stated in the meeting that the design had to become sacred, because of Eisenhower’s historical importance. Making the blocks vertical would lead visitors to look up, giving them an expansive feeling. They would also be able to read the writing about Eisenhower with a sense of elevation, because of the heightened perspective.

Within this quickly constructed design, the relief is attached to one vertical block, and opposed on the other side of the piazza by a similar block, in front of which would stand the solitary figure of President Eisenhower. The president is elevated on a pedestal of five feet. The scale of the figure would be 9-10 feet in height. The relief would be approximately 18 by 11 feet.

The architecture would create symmetry and tie these two different sculptures together. The symmetry would leave the visitor with a memorable, visceral experience.

I stressed to Mr. Gehry and his team that there needed to be a sense of monumentality, yet the sculptures still had to feel human. I mentioned the Houdon sculpture on Wall Street as an example of the refined, yet intimate character that the free standing sculpture of Eisenhower needed. Mr. Gehry said, “I like it. I see what you are trying to do.”

We talked for another hour, coming to the arrangement that I would receive funds from the GSA to make these two models, the relief and the figure, which would then be presented to all the committees. The meeting ended with Mr. Gehry saying, “This has been a great meeting and we are really happy.”

I was instructed to submit a proposal with numbers to procure funds for my work. I was specifically instructed to make the numbers adequate for my needs, that is, to raise them from my initial ballpark figures. I did so and submitted a document. I was told that they wanted me to get started right away, and they would get GSA to release funds the following week. 

Several weeks passed. I waited with growing confusion, as I had been explicitly told that I was Mr. Gehry's first choice. I submitted two more documents concerning pricing.

On November 16, I received a phone call from the team at Gehry Partners saying that, stylistically, I would not be selected for the project. I am puzzled.

Moreover, I am disappointed. I was inspired and excited to be able to use my talents to create a work to honor one of our greatest presidents. Needless to say, stylistically, my work would have been created in form and finish appropriate for a presidential memorial.

I was never given a chance to show my sculptural skills in an honest competition. Things were decided with the submission of paperwork, and perhaps, with behind-the-scenes political concerns in mind.

I am a visual artist, so my art is first and foremost visual, not written. It is unfortunate that I had been judged by a verbal proposal.

My dream had been to create timeless art in a transformational space. When I lived in Rome, I walked into the Piazza of the Campidoglio and I immediately felt different. I was struck by the central sculpture of Marcus Aurelius, uplifted and regal on a pedestal. The simplicity of what had been designed by Michelangelo was a template. I envisioned Eisenhower both as a statesman, exemplifying the contemplative life, introspective in thought, and Eisenhower as a soldier, exemplifying the active, expansive life. These striking images of a hero who leads a nation through transformation would serve to inspire viewers and to show what we, as a nation, can be. The memorial would have been designed for the benefit of the people.

In the end, I am writing this piece not because of my own disappointment, but because I feel the needs of the people and the nation are not being served by the discordant vision imposed on the memorial. I am arguing for quality--that's why I am posting these words.

Sincerely, Sabin Howard

FINALLY COMING TO A CLOSE ON THE 32" APOLLO

The New York Optimist

Wanted to share a new post ( COPY AND PASTE):

http://thenewyorkoptimist.com/SabinHowardMay8_2012.html

Featured Artist: Sabin Howard @ THE ARTISTIC BLOG!

Here is the link:

Featured Artist: Sabin Howard

29" Apollo Almost Done!!!

NEW VIDEO!!

The New Video filmed by Mark Forman with original music by Jan Carter, returning art to its sacred space:

Why I decided to be a sculptor

What made you decide to be a sculptor?

I grew up in the visual splendor of Italy surrounded by beautiful art juxta posed with the urban hotbed of ideas that New York City was in the 60's and 70's..My childhood was a marriage of traditional beauty and modern concept of self expression.. Both my parents were PHD.s so I was expected to go that way as well.. Well as a rebellious teenager I followed my parents in Italy from one cultural sight to the next, and so it slowly creeped into my soul that art was something of immense grandeur full of grace and nobility.. It was a world that aspired to the divine or sacred exemplifying man as the best that he could be. I knew that art was something that was a learned skill that left a viewer mesmerized by it's power. On October 19th at exactly 4PM. lightning struck. I had just been hired at a cabinet makers shop in South Philly (Guido Central) on Monday , and now it was Thursday.. I couldn't take it any more. My parents were right. I was not using my god given gifts. Specifically my brain. I strode over to the boss and stated succinctly," I quit!".. His response was," What'du mean, you quit?.. I just hired you.. Well I 'm not going to pay you." My response was," Ok well what do you owe me 42 dollars!".. I headed out the door and stopped at the nearest phone booth. I called my Dad.. I remember the conversation going like this: " I want to go to art school". My Dad's response was: " How long is this going to last."

The next call was to the Philadelphia College of Art. " Could I please speak with admissions".. Once I got on the line with a lady I asked," I want to go to art school. What do I need to do?" The response was,"Well you need a portfolio".. " What's a portfolio?".. And that was the beginning. After our meeting as to the suggestions of the admissions lady, I went directly to Foxes Bookseller on Walnut Street, and purchased DRAWING ON THE RIGHT SIDE OF HE BRAIN, Betty Edwards. The next ninety days were an epiphany!.. I drew ever night after a full day of construction work. After those ninety days I had ninety drawings. I marched back to the admissions lady one night after work, and dropped the stack of drawings in front of her.. She started leafing through them. I asked what do you think. And she replied "You'll get in".. "How do you know", I responded. She stopped, looked up at me, and said," Because I'm the director of admissions!"

I ended up at the best school in the country to learn how to draw and sculpt the figure in Renaissance manner. My teacher, Walter Erlebacher had studied at the Bauhaus school in Germany and at some point when he came to this country decided to re-invent a system of anatomy directly out of the 1500's except it was completely modern in it's ideology. I had asked on that October afternoon to become a  modern renaissance master, and the universe had responded..

What artists have most influenced your work?

When I started making art, I always had books with me. Everywhere I went I had a book under my arm. I had every Michelangelo, and Leonardo book I could get my hands on. I aspired to make art at this level, and emulated these masters with a cult like persistence!... As years went by my own soul and experience started to creep in, and my greatest influence became the energy I had experienced as a child in Italy. I realized that I made art because I wanted to be elevated by the same feelings I had when I stood under the porticos in the piazzas of Torino holding my grandfathers hand. Looking up at the Baroque church steeples surrounded by an azure blue sky left it's imprint on me. Art is sacred to me and connects me to something way larger than myself. That's why I sculpt.

Hour long Lecture and slide show about how I organize and create my art:

Here is the link to view:

 http://www.visualarium.com/sabin-howard-preview-webinar/#

Sabin Howard, Modern Renaissance Master

Thought I'd share the latest blog posting by designer James Andrew:
http://www.whatisjameswearing.com/sabin-howard-modern-renaissance-master/

heart and head close to completion on 32" Apollo

Head of APOLLO32" redone

GALO MAGAZINE ON SABIN HOWARD AND THE RENAISSANCE

Check out this great article on my art and philosophy of art on GALO MAGAZINE.