Artist:
Tim Scott
Title:
Song for Adèle VII
Year:
1993
Adress:
Lorenzer Platz
www.jesus.cam.ac.uk:
It is a hallmark of Scott’s practice that every juncture of materials and forms is regarded as an opportunity for the injection of new energy, for an enlivening solution to the problem of joining disparate elements. As a result, the sculpture seems never to run out of fresh vantage points, with even the slightest change of angle making the possibilities for reconfiguration seem inexhaustible.
Song for Adele is in fact one in an extensive series of works with the same title that Scott has elaborated out of his study of Rodin’s Torso of Adele, a bronze sculpture celebrated for its exaggerated contorting of the female body depicted.
The Rodin original is completely ambivalent in seeming to offer the alternatives of extraordinary discipline and complete freedom from restraint, of gymnastic control and reckless abandon. Its ambivalence is reflected in the strained and twisted agglomerations of steel that have both resisted and succumbed to Scott’s intention of turning them both towards and away from Rodin’s template and towards and away from one another. They resemble the outcome of rapid improvisation and throwaway gesture but have been fashioned slowly and deliberately with precise attention to detail.
This group of works is an experiment in the sense insisted on by Scott himself: "Experiment, which is the background to every worthwhile artist, is only significant when what it throws up is extracted and developed; otherwise it remains a curiosity."
Each of these works is a ‘song’, not a commentary but a lyrical composition, something with its own artistic unity which nonetheless directs us elsewhere, back to where it came from; and each ‘song’ is extracted both from Rodin and from its predecessors in the series and then subjected to the discipline of conscious development. The result is a corpus of exceptional virtuosity and pure concentration.
www.waymarking.com:
On the Lorenzer Platz (Lorenzer Square), north of the Gothic Church of St. Lawrence, stands the steel sculpture "Song for Adele VII" of the English sculptor Tim Scott. The sculpture was donated to the city of Nuremberg by the Kiwanis Club Franken + Nürnberg e.V. in January 2000. Tim Scott (* 1937) is is a British sculptor known for his abstract sculptures made from transparent acrylic and steel. Tim Scott's work can be found in many important collections, including the Tate Gallery, London, and the Museum of Modern Art, NYC. He was teaching inter alia as a professor at the Academy of Fine Arts Nuremberg.
Auf dem Lorenzer Platz, nördlich der gotischen St. Lorenz Kirche, steht die Stahl-Skulptur "Song for Adele VII" des englischer Bildhauers Tim Scott. Die Skulptur wurde der Stadt Nürnberg im Januar 2000 vom Kiwanis Club Franken + Nürnberg e.V. gestiftet. Tim Scott (* 1937) ist ein englischer Bildhauer, bekannt für seine abstrakten Skulpturen aus transparentem Acryl und Stahl. Tim Scotts Werke kann in vielen wichtigen Sammlungen finden, u.a. in der Tate Gallery, London und dem Museum of Modern Art, New York. Scott lehrte unter anderem als Professor an der Akademie der Bildenden Künste Nürnberg.
www.welt-der-form.net:
Tim Scott, *1937 London.
Song for Adèle VII, 1993.
Cortenstahl, 85 cm hoch. 2000 aufgestellt. Standort: Lorenzer Platz
www.wikipedia.org:
Tim Scott (born 1937, London) is a British sculptor known for his abstract sculptures made from transparent acrylic and steel. While studying architecture, Scott also studied sculpture part-time at Saint Martin's School of Art, where he also later taught. Inspired by the example of David Smith, Scott began to make sculptures using materials such as fibreglass, glass, metal, and acrylic sheets.
Scott was part of a group of young sculptors known as the 'New Generation', exhibiting together in London in the mid-sixties. In the seventies, Scott created his groundbreaking series of thick-slab acrylic and steel sculptures. Frustrated ultimately with the fragility of plastics at the time, Scott switched to steel for his material, abandoning his trademark acrylic sheets altogether.
Tim Scott's work can be found in many important collections, including 12 works at the Tate, London, and the Museum of Modern Art, NYC. His sculptures have also been exhibited in group shows, including the Arts Council touring exhibition Kaleidoscope: Colour and Sequence in 1960s British Art, which was at the Yorkshire Sculpture Park in June 2017.
He was teaching inter alia as a professor at the Academy of Fine Arts Nuremberg
It is a hallmark of Scott’s practice that every juncture of materials and forms is regarded as an opportunity for the injection of new energy, for an enlivening solution to the problem of joining disparate elements. As a result, the sculpture seems never to run out of fresh vantage points, with even the slightest change of angle making the possibilities for reconfiguration seem inexhaustible.
Song for Adele is in fact one in an extensive series of works with the same title that Scott has elaborated out of his study of Rodin’s Torso of Adele, a bronze sculpture celebrated for its exaggerated contorting of the female body depicted.
The Rodin original is completely ambivalent in seeming to offer the alternatives of extraordinary discipline and complete freedom from restraint, of gymnastic control and reckless abandon. Its ambivalence is reflected in the strained and twisted agglomerations of steel that have both resisted and succumbed to Scott’s intention of turning them both towards and away from Rodin’s template and towards and away from one another. They resemble the outcome of rapid improvisation and throwaway gesture but have been fashioned slowly and deliberately with precise attention to detail.
This group of works is an experiment in the sense insisted on by Scott himself: "Experiment, which is the background to every worthwhile artist, is only significant when what it throws up is extracted and developed; otherwise it remains a curiosity."
Each of these works is a ‘song’, not a commentary but a lyrical composition, something with its own artistic unity which nonetheless directs us elsewhere, back to where it came from; and each ‘song’ is extracted both from Rodin and from its predecessors in the series and then subjected to the discipline of conscious development. The result is a corpus of exceptional virtuosity and pure concentration.
www.waymarking.com:
On the Lorenzer Platz (Lorenzer Square), north of the Gothic Church of St. Lawrence, stands the steel sculpture "Song for Adele VII" of the English sculptor Tim Scott. The sculpture was donated to the city of Nuremberg by the Kiwanis Club Franken + Nürnberg e.V. in January 2000. Tim Scott (* 1937) is is a British sculptor known for his abstract sculptures made from transparent acrylic and steel. Tim Scott's work can be found in many important collections, including the Tate Gallery, London, and the Museum of Modern Art, NYC. He was teaching inter alia as a professor at the Academy of Fine Arts Nuremberg.
Auf dem Lorenzer Platz, nördlich der gotischen St. Lorenz Kirche, steht die Stahl-Skulptur "Song for Adele VII" des englischer Bildhauers Tim Scott. Die Skulptur wurde der Stadt Nürnberg im Januar 2000 vom Kiwanis Club Franken + Nürnberg e.V. gestiftet. Tim Scott (* 1937) ist ein englischer Bildhauer, bekannt für seine abstrakten Skulpturen aus transparentem Acryl und Stahl. Tim Scotts Werke kann in vielen wichtigen Sammlungen finden, u.a. in der Tate Gallery, London und dem Museum of Modern Art, New York. Scott lehrte unter anderem als Professor an der Akademie der Bildenden Künste Nürnberg.
www.welt-der-form.net:
Tim Scott, *1937 London.
Song for Adèle VII, 1993.
Cortenstahl, 85 cm hoch. 2000 aufgestellt. Standort: Lorenzer Platz
www.wikipedia.org:
Tim Scott (born 1937, London) is a British sculptor known for his abstract sculptures made from transparent acrylic and steel. While studying architecture, Scott also studied sculpture part-time at Saint Martin's School of Art, where he also later taught. Inspired by the example of David Smith, Scott began to make sculptures using materials such as fibreglass, glass, metal, and acrylic sheets.
Scott was part of a group of young sculptors known as the 'New Generation', exhibiting together in London in the mid-sixties. In the seventies, Scott created his groundbreaking series of thick-slab acrylic and steel sculptures. Frustrated ultimately with the fragility of plastics at the time, Scott switched to steel for his material, abandoning his trademark acrylic sheets altogether.
Tim Scott's work can be found in many important collections, including 12 works at the Tate, London, and the Museum of Modern Art, NYC. His sculptures have also been exhibited in group shows, including the Arts Council touring exhibition Kaleidoscope: Colour and Sequence in 1960s British Art, which was at the Yorkshire Sculpture Park in June 2017.
He was teaching inter alia as a professor at the Academy of Fine Arts Nuremberg