Anne Wagner

Anne Wagner is working on a new book called Sculpture and the Making of the Human.

BillBrandt|Henry Moore is an investigation in two parts. There is the exhibition at the University of East Anglia’s Sainsbury Centre (recently closed), which travels in mid-November to the Yale Centre for British Art in New Haven. And then there is the remarkable book that accompanies it: 250 illustrations of photographs, sculptures and drawings, many full page; ten scholarly essays;...

At Oberlin: Eva Hesse

Anne Wagner, 30 July 2020

‘No title’ (1963)

When​ the sculptor Eva Hesse died fifty years ago, she was 34 and making work that still feels new. After a promising start as a figurative painter, she moved quickly towards contemporary abstraction. Then she discarded painting entirely, in favour of an approach that linked the body to sculpture in distinctive new ways. Ropes resemble sinews and tangled...

At the British Museum: Käthe Kollwitz

Anne Wagner, 2 January 2020

The exhibition​ of etchings, lithographs and woodcuts by Käthe Kollwitz at the British Museum (until 12 January) confronts us with her characteristic, and still discomfiting, lack of decorum. Her subjects are almost unfailingly depressing – peasant rebellion and defeat, world war, poverty, hunger, the death of children and the despair of mothers – and her way with gouge and...

In Cardiff: David Nash

Anne Wagner, 15 August 2019

The sculptor​ David Nash has lived and worked in Snowdonia for half a century, and the exhibition of his work currently on view at the National Museum of Wales in Cardiff (until 1 September) is a tribute to his time in the region. Born in Surrey in 1945, he moved to the once flourishing slate-mining town of Blaenau Ffestiniog in 1967, the year he left Kingston School of Art. By then, work...

At the Sainsbury Centre: Elisabeth Frink

Anne Wagner, 21 February 2019

The​ sculptor Elisabeth Frink had her first London show in 1955. She was 24 and already teaching at St Martin’s College and the Chelsea School of Art. She dated her formation, however, not to these precocious achievements but to her earlier discovery of Rodin: it was on encountering his work in Paris in 1951, she insisted, that her life as an artist began. Rodin made it possible for...

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