Tony Feher (1956 – June 24, 2016) was an American sculptor.
Feher's sculptural installations—part hobo altar, part curio cabinet, part TSA contraband table—often belie a nuanced understanding of the emotional power of the quotidian object, while displaying, at times, a quality of manic ranging.[4] His signature material, the brightly colored plastic beverage container, found its way into minimalist compositions as well as exuberant displays of three dimensional abstraction. His pieces offer quiet encounters, suggesting the ways an individual might invest discarded bits of flotsam—vacant consumer packaging, toys and novelties—with deep personal meaning.[5] Feher's work was said to be refreshingly direct and permissive; he wasn't overly concerned with its representational character or intellectual ambition. Critic Wayne Koestenbaum stated that ...."He collects and arranges his colorful foundlings with custodial precision—a kinky rigor that restores the dignity of those who overly cathect to household flotsam. Feher’s patterns reassure; he seems a model-maker, constructing maquettes of villages and bundled communities that imagine utopia by seceding from usefulness into gridded whimsy."[6] Silvia Bottinelli, writing in Sculpture Magazine, noted that Feher's ambition differs markedly from other contemporary artists (such as Haim Steinbach) who have made the commonplace object their own: "Feher’s interpretation of the readymade is not strictly Duchampian, though. His work is not about decontextualizing manufactured objects to question ideas of craftsmanship and originality in art. Before landing in a gallery or museum, the elements of his sculptures are part of his daily environmen.Wikipedia
Feher's sculptural installations—part hobo altar, part curio cabinet, part TSA contraband table—often belie a nuanced understanding of the emotional power of the quotidian object, while displaying, at times, a quality of manic ranging.[4] His signature material, the brightly colored plastic beverage container, found its way into minimalist compositions as well as exuberant displays of three dimensional abstraction. His pieces offer quiet encounters, suggesting the ways an individual might invest discarded bits of flotsam—vacant consumer packaging, toys and novelties—with deep personal meaning.[5] Feher's work was said to be refreshingly direct and permissive; he wasn't overly concerned with its representational character or intellectual ambition. Critic Wayne Koestenbaum stated that ...."He collects and arranges his colorful foundlings with custodial precision—a kinky rigor that restores the dignity of those who overly cathect to household flotsam. Feher’s patterns reassure; he seems a model-maker, constructing maquettes of villages and bundled communities that imagine utopia by seceding from usefulness into gridded whimsy."[6] Silvia Bottinelli, writing in Sculpture Magazine, noted that Feher's ambition differs markedly from other contemporary artists (such as Haim Steinbach) who have made the commonplace object their own: "Feher’s interpretation of the readymade is not strictly Duchampian, though. His work is not about decontextualizing manufactured objects to question ideas of craftsmanship and originality in art. Before landing in a gallery or museum, the elements of his sculptures are part of his daily environmen.Wikipedia
No comments:
Post a Comment