Daniel Arsham, Ash and Pyrite Eroded Bust of Veiled Woman (Aspasia), 2020. Volcanic ash, pyrite, selenite, hydrostone. 65 x 30 x 30 cm | 25 9/16 x 11 13/16 x 11 13/16 in. The body of work in “Time Dilation” that wrestles with those ideas most strikingly are sculptures that emerged from Arsham’s collaboration with the Réunion des Musées Nationaux (RMN) in Paris. Early last year, he introduced several sculptures, busts, and friezes drawn from classical antiquity and produced in RMN’s casting studio, which has been used to reproduce masterpieces from (and for) major museums since the end of the 19th century. In Arsham’s new works from the RMN molds, telltale signs of age and disrepair—jagged edges, broken limbs, the greenish patina of old bronze—are punctuated with quartz, rose quartz, selenite, pyrite, and other minerals, resulting in pieces that attach themselves to a multiplicity timelines. Offering a glimpse into his ideology (and a preview of “Time Dilation”) for his 940,000+ followers on Instagram, Arsham recently posted a picture of his Eroded Apollo Belvedere, 2020, noting in the caption: “In much of my work I am interested in engaging in further inquiry into the history of iconic artworks. Although my Apollo appears to be in a state of Erosion or decay, it is made of Crystal which is a material of growth. So the question remains, is it falling apart, or has it been forming together for millennia.”
Daniel Arsham, Ash and Pyrite Eroded Bust of Veiled Woman (Aspasia), 2020. Volcanic ash, pyrite, selenite, hydrostone. 65 x 30 x 30 cm | 25 9/16 x 11 13/16 x 11 13/16 in. The body of work in “Time Dilation” that wrestles with those ideas most strikingly are sculptures that emerged from Arsham’s collaboration with the Réunion des Musées Nationaux (RMN) in Paris. Early last year, he introduced several sculptures, busts, and friezes drawn from classical antiquity and produced in RMN’s casting studio, which has been used to reproduce masterpieces from (and for) major museums since the end of the 19th century. In Arsham’s new works from the RMN molds, telltale signs of age and disrepair—jagged edges, broken limbs, the greenish patina of old bronze—are punctuated with quartz, rose quartz, selenite, pyrite, and other minerals, resulting in pieces that attach themselves to a multiplicity timelines. Offering a glimpse into his ideology (and a preview of “Time Dilation”) for his 940,000+ followers on Instagram, Arsham recently posted a picture of his Eroded Apollo Belvedere, 2020, noting in the caption: “In much of my work I am interested in engaging in further inquiry into the history of iconic artworks. Although my Apollo appears to be in a state of Erosion or decay, it is made of Crystal which is a material of growth. So the question remains, is it falling apart, or has it been forming together for millennia.”
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