1979 Signed and Framed Caspear Henselmann, the Clamp Drawing
Henselmann, Gaspard (Caspear or Casper) (German, born 1933 - died 2015), The Clamp, acrylic and mixed media on paper, signed and ...
more Henselmann, Gaspard (Caspear or Casper) (German, born 1933 - died 2015), The Clamp, acrylic and mixed media on paper, signed and dated lower right, 50" x 38" metal frame 57" x 44"
in good condition floated in the frame
Henselmann was born in Germany and raised in Switzerland before coming to the US in 1950, settling in Chicago. He studied art at the Art Institute of Chicago and also received a diploma of medical illustration from the College of Medicine at the University of Illinois. He put himself through school by working as a ballroom dancer. He moved to Detroit after college and began his career as a sculptor. In 1960, he moved to NYC, worked as a medical illustrator, professor of art and began exhibiting his artwork throughout the US and Europe. He had more than 25 solo shows throughout his life and his is a part of the collections of many a collector and museum. His work stands at an interesting crux of Minimalism, Post-Minimalism, Concept Art and Pop Art. Although most known as a sculptor, he was interested in playing two-dimensionality and three-dimensionality as experiences off of one another in the viewer's experience of his work. His drawings often display extremely foreshortened geometric planes and rods that dissolve the picture plane and interact with the viewer as though they occupy real space. His large-scale three dimensional works, heavy and solid, often resemble sheaths or sheets of some sort of surface that bends and folds itself to come into a three-dimensional state. It's as though the two-dimensional strives to become three and three-dimensional is an augmented two. His "Clamp" plays upon these notions of 2 and 3- dimensionality as well as the materiality of metal vs paper vs thick acrylic paint. The paint runs down the surface of the paper at the same time the thick rods burst through and dissolve that same surface. The viewer understands that the clamp holds the metal parts together. It also holds the notion of what the subject "is" here together as its title. This knowledge however serves to underscores the ignorance of the viewer when it comes to what holds together his or her notion of what it is he or she is experiences as the art object. Is the dribbling paint that sits atop the surface of the two-dimensional image which at the same time seems to be burst through into the space of the viewer and exists as a three dimensional object in a three -dimensional frame more to be defined by our mind or by its own form? Good question, right? less
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Otto Binx in Brooklyn, NY
After more than a decade in academia, both as doctoral candidate at NYU’s Institute ...
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