Five must-see sculptures at Frieze Sculpture Park 2016
- 4 October 2016
A bronze hare, a giant cigarette butt and a futuristic woodland chapel – we take a look at some of the curious works on display at this year's Frieze Sculpture Park.
The outdoor sculpture park is open to the public from 5 October – 7 January 2017, and entry is completely free. Make sure you download our app for a fascinating insight into the full range of sculptures on display, including an audio guide by Yorkshire Sculpture Park's Clare Lilley.
Barry Flanagan, Drummer, 1996
In his early career the artist experimented with materials such as rope and sand, but after he witnessed a hare running across a field in Sussex, he felt compelled to devote the bulk of his practice to bronze depictions of the animal in various poses. This example is typical for its lively surface and graphic quality – like a charcoal drawing made three-dimensional.
Goshka Macuga, International Institute of Intellectual Co-operation, Configuration 11, Last Man, 2016
Composed of long rods joined by the heads of influential thinkers — Marx, Nietzsche and Mikhail Gorbachev among them — this sculpture is like a chemistry diagram, but formed of ideas rather than compounds. It was inspired by research into historical conceptions of the ‘last man’ as well as the Renaissance tradition of ars memoriae, which used spatial metaphors in the mental organisation of information.
Lynn Chadwick, Stranger III, 1959
When the maquette for this sculpture was presented as a proposal for a monument to a pioneering airship flight, one critic likened it to ‘a diseased haddock’. The work would go onto debut at the second Documenta festival, and is considered by some a precursor to Antony Gormley’s Angel of the North (1998).
Claes Oldenburg, Fagend Study, 1975
This sculpture’s grand scale and metal construction is at odds with its humble subject – a cigarette butt. Considered one of the most significant post-war American artists, Oldenberg often draws attention to ephemeral matter, celebrating everyday items and experiences and playing with the monumental expectations of public art.
Henry Krokatsis, Kabin, 2016
Kabin draws on the iconography of a traditional park – the bandstand, bench and hut – yet it is an altogether more unusual structure. Rotatable with elongated, angular forms it appears both Gothic and futuristic: like an alien civilization’s interpretation of a woodland chapel. It is constructed from wood which has been burned and its grain then carved back into its surface, enhancing the air of something familiar made strange.