Exhibitions

On view at Grob Gallery, Constantin Brâncuși's Endless Column: Voulangis and Târgu Jiu invites viewers to explore one of modernism’s most iconic forms through Brâncuși’s own lens. The exhibition features 30 photographs, including eight self-portraits of Brâncuși working on the Endless Column, providing an intimate glimpse into the mind and hand that shaped this revolutionary work.

Regarded as “the most radical sculpture in the history of classic modernism,” the Endless Column stands alongside the great monumental works of the ancient world, yet it is distinctly of its own time—an extraordinary vision of infinity, purity, and ascent. Beginning with a series of doubled pyramids, Brâncuși discovered a language of repeating forms that transcends the physical, suggesting a continuum that defies boundaries and extends into the unknown.

This exhibition traces the column’s journey from its origins in Edward Steichen’s garden in Voulangis to its culmination in the monumental installation at Târgu Jiu, Romania—a UNESCO World Heritage site. In the words of art historian Sidney Geist, the column appears as a "repetition without monotony," a form that rises with elegance and intent, both grounded and ethereal. Its rhythm and balance speak to a timeless order and harmony that stand as symbols of endurance.

Brâncuși’s photographs of the Steichen Column, now preserved in collections such as the Centre Georges Pompidou and Kunsthaus Zurich, offer an invaluable perspective on his dedication to documenting and refining his vision. Through these images and the self-portraits that reveal his intimate creative process, Constantin Brâncuși's Endless Column: Voulangis and Târgu Jiu honors a work that stands at the heart of modernism—a bold testament to the boundless possibilities of form and the enduring human pursuit of transcendence.

Materiality and Modern Life

The exhibition draws attention to the transformative power of industrial materials in the hands of visionary sculptors. Ron Arad’s fluid, futuristic steel creations challenge the notion of fixed form, merging art and design to blur the boundaries of function. Bill Woodrow similarly engages with industrial debris, turning discarded objects into powerful reflections on mass consumption and environmental impact.

César’s "Compressions" series, where crushed automobiles and metal objects are refashioned into sculptural forms, offers a stark commentary on consumerism and waste in modern society. As César once stated, “The material reflects the speed and violence of our time,” encapsulating his critique of industrial excess (César Retrospective, Centre Pompidou). Quinn’s sculptures evoke the beauty of the natural world, frozen in time, while simultaneously commenting on the fragility of our ecosystems.

Nature, Shadow, and the Human Figure

A central focus of LIGHT AND SHADOW is the human form, often caught in the tension between the mechanical and the organic. Elisabeth Frink’s monumental sculpture of a running man captures a moment of raw, physical energy, embodying the primal urge to move forward while casting long shadows on the path behind. Frink’s powerful figure embodies themes of survival and human vulnerability, standing in contrast to the industrial materials of her peers, yet deeply connected to the elemental forces of nature.
In a similar vein, Anthony Gormley’s sculptures, which often depict the human form in meditative stillness, confront questions of identity, embodiment, and space. Gormley’s works invite viewers to consider the weight of the body in relation to the earth, while Henry Moore’s iconic organic forms reflect on the eternal bond between human life and the natural world. Moore’s sculptures, inspired by natural elements, bridge the gap between modern industrialization and humanity’s timeless connection to the landscape.

As Moore famously said, “The human figure is central to my sculpture; it reflects our place within the natural world” (Henry Moore: Writings and Conversations), a sentiment that resonates throughout the exhibition.

Bridging Past and Present
Through works by artists such as Paul Gauguin and Eric Kennington, LIGHT AND SHADOW offers a historical foundation for contemporary explorations of material, form, and nature. Gauguin’s sculptural work, informed by his experiences in Tahiti, presents an organic, almost mythic connection to the natural world, while Kennington’s war memorial sculptures speak to the power of art in commemorating historical events.

By uniting these historical works with contemporary sculptors, LIGHT AND SHADOW illustrates how the medium of sculpture transcends time—addressing universal themes of creation, destruction, and humanity’s place between the forces of nature and the machine.

Item added to cart

Exhibitions

Constantin Brâncuși's Endless Column Voulangis And Tirgu Jiu

Grob Gallery at THE PHOTOGRAPHY SHOW by AIPAD 2024

Brancusi at the Centre Pompidou Paris

Brâncuși: Romanian Sources and Universal Perspectives

‘Brancusi’ at Bozar Museum

STREIK !

French Photography

GRÉGOIRE MÜLLER - ALL OVER THE PLACE

PASCAL BERTHOUD

GAUGUIN, TAHITI & PHOTOGRAPHY

ANDRE KERTESZ / BILL BRANDT

BRANCUSI : The Sculptor as Photographer

LANDSCAPES

BEAUTIFUL, USEFUL, LOVE

Silence Stronger Than Thunder

NUDES

WILLIAM KLEIN

Sculpture: LIGHT AND SHADOW

Polaroid: The photographers sketch. Helmut Newton, Araki, Ralph Gibson, William Klein, Andy Warhol and more!

BRANCUSI: The Eye behind the sculpture

SIEFF + HASKINS

The Spring of Escapism

The Spring of Escapism

Marc Quinn - Sculptures & Paintings

Cookie preferences