• Thomas Schutte, Father State, 2010

  • If the term ‘monumental’ connotes massiveness, timelessness and public significance, the neologism ‘un-monumental’ is meant to describe a kind of sculpture that is not against these values (as in ‘anti-monumental’) but intentionally lacks them.

    —  Laura Hoptman, “Going to Pieces in the 21st Century” from Unmonumental, 2007

  • What intrigues me about scale is its flexibility. … The idea is that scale is constantly under reconsideration, it’s a little provisional. Scale is not a stable index to a particular fixed size. It is something that’s always shifting, and in that same way your relationship to the work, the size of your own body, shifts. So, you might be very tiny in a massive structure, or you may have a birds-eye view, a simultaneous view of the work versus what would happen if you were walking through the city, which is a series of views in time. I’m interested in how a model can provide a sense of understanding of space.

    —  Kendall Buster, “Interview with Katie Geha,” 2013

  • Christo and Jeanne-Claude, Valley Curtain, Rifle, CO, 1970-2 (via nytimes)

  • Colossus of Rhodes, Greece, c. 292-80 BCE

  • Grolier Society, Colossus of Rhodes in the Book of Knowledge, c. 292-80 BCE

  • Martin Heemskerck, Colossus of Rhodes from the Seven Wonders of the World Series, c. 1550

  • Colossus of Rhodes, c. 292-80 BCE (via resobscura)

    Click here for an impressive catalogue of “Bigness" in Statuary.

  • Alfred Eisenstaedt, A man standing in the lumberyard of Seattle Cedar Lumber Manufacturing, Seattle, WA, 1939 (via hold this photo)

    (Source: anothereview, via praxismakesperfect)

  • Thomas ColeThe Titan’s Goblet, The Metropolitan Museum of Art, Manhattan, NY, 1833

    'The Titan's Goblet is an oil painting by the English-born American landscape artist Thomas Cole. Painted in 1833, it is perhaps the most enigmatic of Cole’s allegorical or imaginary landscape scenes. It is a work that “defies full explanation”, according to the Metropolitan Museum of ArtThe Titan’s Goblet has been called a “picture within a picture” and a “landscape within a landscape”: the goblet stands on conventional terrain, but its inhabitants live along its rim in a world all their own. Vegetation covers the entire brim, broken only by two tiny buildings, a Greek temple and an Italian palace. The vast waters are dotted with sailing vessels. Where the water spills upon the ground below, grass and a more rudimentary civilization spring up.’