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The sculpture journal, 2019-01, Vol.28 (2), p.229-246
Ort / Verlag
London: Liverpool University Press
Erscheinungsjahr
2019
Link zum Volltext
Quelle
International Bibliography of Art (IBA)
Beschreibungen/Notizen
The sculptural practice of the Scottish-Italian artist Eduardo Paolozzi (1924-2005) has long been interrogated in terms of its perceived origins in the practice of collage. The term 'child art' was first used in the late nineteenth century to indicate the un-self-conscious artistic efforts of children creating their own version of reality. Sculptures such as Eduardo Paolozzi's Standing Figure are both collaged and constructed in an imaginative fashion that is rooted in child art. What Paolozzi recognized in child art was what, in 1960, he called a 'constant magic'. He not only saw child art as a legitimate point of reference, but children's creativity as a lost realm to be reclaimed by the artist, not as a space of nostalgic remembering but as a space where the artist could forge a more productive intellectual engagement with cultural and technological change than would otherwise be possible. In what follows I use the term 'child art', as Johnstone does, to refer to artwork made by children up to the age of 11. The term 'children's art' is more encompassing and, as in the exhibitions that will be discussed, covers art made by all children up to the age of 18.