- Menashe Kadishman
- Cor-Ten weathering steel
- Height: 118 in.
- 300 cm
- Conceived circa 1968.
Private Collection, New York (acquired from the above)
Acquired from the above
Jacob Baal-Teshuva, ed., Menashe Kadishman, New York, 2007, illustrations of additional casts pp. 22-23
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Kadishman, who began his journey as a sculptor at the end of the 1950s with rough stone sculptures of “altars” (inspired by the his work on the archeological excavations at Tel-Hazor in the Galilee – an experience that will influence the artist towards archaic stone sculptures inspired by the English “Stonehenge”), fashioned the altar through the abstract-geometric language he absorbed in the classes of Anthony Caro at the Saint Martin’s art school, London (1960-61). Both the dense weight and the suspension – the two sensations the sculpture arouses – have a strong physical effect, while both bear strong religious meanings, so many years before Kadishman devoted himself to the subject of the altar of Abraham, who bound his son, and was stopped by an angel from heaven. These elements can already be detected in “Suspense.” Here stems the dichotomy of death (sacrifice) and life, or the earth and the heavens, that exists in the depth of the sculpture. Therefore, this modernist sculpture, autonomous in its abstract forms, is still a sculpture of an ancient ritual. And here, the dialectics of Israeli identity that unify the conflicts of the past and the future, the ancient and the progressive, the local and the universal. This is one of Menashe Kadishman’s most important sculptures.
We are grateful to Gideon Ofrat for the above catalogue note.