Christopher Owens 🔖 “I see my sculptures before me: each one a
failure. Yes, I mean it, a failure! But in each one there is also something of
what I would want to create one day.”
Considering that his sculptures are some of the most reognisable in the world, that’s a bold statement for Alberto Giacometti to make.
Kenan Malik has written about how, when he saw one of the statues in person, he was struck by the way they were both visceral and abstract, conveying both an intangible sense of our own humanity and also a brute yet sensual imagining of our existence as humans.
Some reactions to have, I’m sure you’ll agree.
Produced in 2017 to coincide with a retrospective of his work at the Tate Modern in London, this acts as an essential beginner’s guide to the Swiss artist’s work and legacy, particularly the inclusion of a short biography as well as a few behind the scenes photos in his studio which should be an eye opener for anyone who’s seen Final Portrait
Photographs of his sculptures are reproduced with a cold veneer and clinical detachment which, intentionally or not, highlight the surrealism and the starkness one experiences upon viewing them for the first time.
A minor criticism is that there are very few reproductions of his paintings here. While maybe less well known, works like Diego demonstrate how he was able to flesh out the environment his subjects found themselves in as well as their own alienation from their surroundings.
Quite the feat, I’m sure you’ll agree. And with various jibs taj
As Jean Paul Satre concluded in 1948 when discussing Giacometti:
Buy this book and gain a better understanding of the world around us....
Considering that his sculptures are some of the most reognisable in the world, that’s a bold statement for Alberto Giacometti to make.
Kenan Malik has written about how, when he saw one of the statues in person, he was struck by the way they were both visceral and abstract, conveying both an intangible sense of our own humanity and also a brute yet sensual imagining of our existence as humans.
Some reactions to have, I’m sure you’ll agree.
Produced in 2017 to coincide with a retrospective of his work at the Tate Modern in London, this acts as an essential beginner’s guide to the Swiss artist’s work and legacy, particularly the inclusion of a short biography as well as a few behind the scenes photos in his studio which should be an eye opener for anyone who’s seen Final Portrait
Photographs of his sculptures are reproduced with a cold veneer and clinical detachment which, intentionally or not, highlight the surrealism and the starkness one experiences upon viewing them for the first time.
A minor criticism is that there are very few reproductions of his paintings here. While maybe less well known, works like Diego demonstrate how he was able to flesh out the environment his subjects found themselves in as well as their own alienation from their surroundings.
Quite the feat, I’m sure you’ll agree. And with various jibs taj
As Jean Paul Satre concluded in 1948 when discussing Giacometti:
These figures are already seen as the foreign language we try to learn is already spoken. Each one of them reveals human being as one sees him to be, as he is for other human beings, as he appears in an intersubjective world – not for the sake of simplification at ten or twenty paces, but at a human distance from us. Each imparts to us the truth that a human being is not there first and to be seen afterwards, but that he is the being whose essence it is to exist for others.
Buy this book and gain a better understanding of the world around us....
Lena Fritsch (editor), 2017, Giacometti. Tate Publishers. ISBN-13: 978-1849764834
⏩ Christopher Owens was a reviewer for Metal Ireland and finds time to study the history and inherent contradictions of Ireland. He is currently the TPQ Friday columnist and is the author of A Vortex of Securocrats and “dethrone god”.






















