Word: giacometti
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...best of them are to be measured in inches. You enter Price's imagination from the wrong end of the telescope. His objects don't declare themselves across the room at you. Like certain Joseph Cornell boxes, or like the tiny clay caricature heads by Daumier that so influenced Giacometti's ideas of scale they pull you close in with their bright and almost fetishistic visual promise until you have shrunk, as it were, to their size...
...They were so thin they looked like Giacometti sculptures -- living stick figures," LaBell recalls. "The photograph so haunted me that I decided I wanted to do something about it." Marrying his pledge to his profession, he came up with a plan to organize a charity art auction for the United Nations Children's Fund...
Clearly, Shapiro had learned a lot from the way Giacometti's tiny figures could control the distances around them. Equally, part of his point was to challenge the idea that there was a "right" distance from which to see a sculpture. Should you get down on the floor with it and look for detail? But there was no detail, or not much. The sculptures were sitting in your space. So might you stand back and take in the general effect? But there was no general effect: the pieces were too small to produce one. Shapiro's little sculptures conspired...
...broke up in a fit of anger -- "I pulled it apart and just threw it around the room," he says to curator Deborah Leveton in the catalog interview. "It's a pretty aggressive piece." Indeed it is, almost childishly so, although its distant ancestor is a surrealist classic by Giacometti, Woman with Her Throat...
...sublime and its subjects: towers, cliffs, icebergs and heroes (even if we see only the backside of the discobolus, even though the thing in his hand looks more like a bowling ball than a discus). Just as clearly, he doubts if sublimity can be revived. His rendering of a Giacometti sculpture into a long, ghostly streak of thick white pigment on a black ground is poignant for this reason; it catches an artist in the act of wondering whether Giacometti's painful authenticity is culturally possible anymore. In this way, Moskowitz's better paintings become icons of loss and constraint...