Daniel Sinclair
Daniel Sinclair
Queens, New York, United States
Sculpture
Explore the artistic vision and craftsmanship of Daniel Sinclair
Tbird
Abstract works such as this are layered in their content. The first level of meaning could be the surprising use of everyday items in a surprising new way. But this concept of \\\"Found Objects\\\" is territory already well travelled in 20th century art and though i am pleased to be counted among artists who have experimented with this concept.
10 × 14 × 6 Inches
Contact Artist
cloud cover
All tools have an implied history and future. Craftsmen have refined their shapes over centuries so workers could achieve maximum results with the greatest economy of effort. Which is exactly what i have done with this piece.
9 × 13 × 7 Inches
Contact Artist
No Image
Vampire
I demand some degree of elegance in whatever sculpture i create, i also need them to express a certain unease, or perhaps, a subtle sense of aggression. i seem to prefer art that is many sided in it\\\'s meaning and which i feel engages the viewer at many levels, this is the challenge i have accepted with this piece.\r\n
8 × 28 × 6 Inches
Contact Artist
About the Artist
DANIEL SINCLAIR
5-50 51st Ave., Long Island City, NY 11101
dmsstudio@verizon.net
#718-937-5648
BORN:
Los Angeles, CA
1947
EDUCATION:
BFA, University of Southern California, cum laude
Otis Art Institute
MFA, Pratt Institute, Brooklyn, NY
Studio of Pasquini, Pietrasanta, Italy 1970-75
ONE-PERSON EXHIBITIONS:
1979 Alexander F. Milliken, Inc., New York
1980 Alexander F. Milliken, Inc., New York
1986 Shreiber/Cutler, Inc., New York
1988 Shreiber/Cutler, Inc., New York
1989 Shreiber/Cutler, Inc., New York
1991 James Goodman Gallery, Inc., New York
GROUP EXHIBITIONS:
1976 International Exhibition of Sculptors, Pietrasanta Italy
1977 International Exhibition of Sculptors, Pietrasanta Italy
1979 Alexander F. Milliken, Inc., New York
1980 Alexander F. Milliken, Inc., New York
1984 "New York Art Experience Show", 909 Third Avenue, New York
1985 Studio K, Long Island City, New York
1987 "Crime and Punishment", Schreiber/Cutler, Inc., New York
AWARDS:
1970 Louis Comfort Tiffany Fellowship
1972 Augustus St. Guadens Memorial Fellowship
1976 Elizabeth T. Greenshields Fellowship
1978 Augustus St. Gaudens Memorial Fellowship
1989 Arthur Ross Award from Classical America, NewYork
PUBLIC COLLECTIONS:
Brooklyn Museum, Brooklyn, NY
Mint Museum, Charlotte, NC
Grey Art Gallery and Study Center, NewYork University, NY
Vassar College Art Gallery, Poughkeepsie, NY
Sarah Lawrence College Art Gallery, New Rochelle, NY
Wilshire House Condominiums, Los Angeles, CA
Insilco Corporation, Meriden, CT
Cedars Sinai Medical Center, Los Angeles, CA
Fine Arts Museum of Long Island, NY
Museums at Stony Brook, NY
Avery International Corporation, Los Angeles, CA
The City of Los Angeles, Los Angeles, CA
NYNEX, White Plains, NY
The Brooklyn Union Gas Co.
MISCELLANEOUS:
Interview by NBC Television, 1982.
Commission by the City Parks and Recreation Department, NewYork, at Murry Park, Long Island City 1986.
Commission by the Metropolitan Transit Authority, New York for the Grand Central Station subway complex, 1987, installed December 1990.
Nippon International Contemporary Art Fair, Yokohama, Japan 1992. (NICAF '92) Slide presentation and date book.
Performer and technical advisor of the Martin Scorsese Columbia Film "Age of Innocence".
Instructor at National Academy of Design.
Lectured at Institute of Classical Architecture.
Instructor at N.Y. Academy of Art.
Lectures for RESTORE Org.
Founder of DMS Studios - Dedicated to architectural stone fabrication, 1989-Present
BIBLIOGRAPHY:
Yoskowitz, Robert, Review of exhibition at Alexander F.Milliken, ARTS, May 1980
Architectural Digest, March 1986, "Ventures in Symmetry --Classical Balance in a Manhattan Duplex", Jane Howard reproduction page100.
Zelanski, P., Space: Dynamics of Three Dimensional Design, Holt, Rinehart & Wilson, NewYork, 1986.
Artist Statement
The work of an artist is to see the world through a personal lens and then create a language with which to understand it for oneself and thereby others. This new work. I am proud to present, is the result of many years of thought, trial and error. However, i feel at last, I've begun to forge (figuratively and literally) a language that describes my art in very personal terms. These new pieces are completely abstract. However I don't view them, as disconnected from reality. They are about transmuting hard in to soft, the inorganic and static in to life and movement. I want them to be challenging, and sometimes a little bit threatening.