Tom McGlynn—New Work, 2008–2012

Delta Crossroads, 2013, drawing of proposed sculpture, Memphis, Tennessee. This work will be paved in place, in asphalt, on an abandoned site in as part of Memphis Social exhibition, slated to open in the spring of 2013.
2. Forked Path, 2011, Tom McGlynn
2-Forked Path-Sierra Foothills-2011-Tom McGlynn
3-Pilgrims-Progress-2010
4-Fort-Greene-Whitmans-Steps-Model
5-Rotterdam-Stages-2009-Tom McGlynn
Slate-Path-2008-Tom-McGlynn

Delta Crossroads, 2013, drawing of proposed sculpture, Memphis, Tennessee. This work will be paved in place, in asphalt, on an abandoned site in as part of Memphis Social exhibition, slated to open in the spring of 2013.

Forked Path, 2011–present, concrete, cast in place, in the Sierra foothills, California. Permanent installation, adjacent the runway in an abandoned cult compound, and part of the East of Fresno exhibition, September 2011.

Another view of Forked Path, 2011–2012.

Pilgrim’s Progress, 2010. Plywood. An interactive social sculpture as part of the Golden Door sculpture park in Jersey City.

Whitman’s Steps, 2010. Proposal model for a modular sculpture at the northeast entrance to Fort Greene Park, Brooklyn, NY.

Rotterdam Stages, 2009–present. Plywood. An interactive sculpture in the urban setting of a street corner in Rotterdam, Netherlands, as part of the Kuf/Mold Rotterdam invitational exhibition.

Slate Path, 2009. Installed at Castleton State College, Castleton, VT.

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The term “social sculpture” is most readily identified with the German conceptual artist Josef Beuys, who has said: “an enlarged understanding of art could work and could break through the borders of isolation which the present culture stands in . . . .” —Nova Scotia, 1974

Much has changed since then, in the overall cultural reception for art, and sculpture is no longer solely represented by isolated modernist gestures. How art “represents” and is received, nevertheless, still tends to get a rarified treatment and is generally cordoned-off—if not literally, then figuratively—behind dense thickets of aesthetic and social theory.

In my approach to the conception and execution of these works, I considered the specific social context of their situation as part of their formal genesis—not in a didactic way, but with an intent that might focus spontaneous interaction with the pieces and with other viewers.

Tom McGlynn