California State University, Northridge
L.I.T.A.S.
,,
(LOST IN TIME AND SPACE)
An abstract submitted in partial fulfillment of the requirements
for the degree of Master of Arts in
Art
by
Edward Lee Goldstein
~
January, 1980
r··---~---------------
1
!
II
I
-I
I
l
The abstract of Edward Lee Goldstein is approved;
California State University, Northridge
January, 1980
--- ... -
ii
.... --
--- ----------------
r- - -
I
The author wishes to dedicate this abstract to
those he loves, to the memory of friends whom
have passed on to other planes of creativity,
and to the everpresent ocean of creativity in
which he dwells
iii
TABLE OF CONTENTS
LIST OF PLATES •
• • • • •
.•
PAGE
• • • • • • • • • • •
v
ACKNO~~DGEMENTS
•
•
• • • • • • • • • • • • • • •
vi
ABSTRACT • •
.•
• • • • • • • • • • • • • • • • •
1
• • • • • • • • • • • • • • • • • • • • • •
13
SUM¥..ARY
APPENDIX • • •
•
• •
.•
• • • • • • • • • • • • • • •
14
LIST OF PLATES
PLATE
PAGE
1.
"The Hwnan Condition" • • • • • • • • • • • • • •
J
2.
"Meditation"
J
).
"A Conceptual Thought"
4.
"A Conceptual Thought" (inside detail)
5.
"Crucifixion Of A Dream"
6.
"Self-fulfilling Prophecy"
7.
"Self-fulfilling
8.
"A Wooan In Bondage"
9.
"A Woman Exposing Her Virtue"
• • • • • • • • • • • • • • • • • •
•••••••• • • • • •
Prophecy~
4
• • • • •
4
• • • • • • • • • • • •
5
• • • • • • • • • • •
7
(inside detail)
• • •
7
• • • • • • • • • • • • • •
8
...•
• • • • • •
8
10.
"Birth" • • • • • • • • • • • • • • • • • • • • •
9
11.
"Unity Is Surcease"
••••••••••••
9
12.
"Lost In Time And Space"
• • • • • • • • • • • •
11
1 ).
"Time Tunnel" • • • • • • • • • • • • • • • • • •
11
14.
"One Mind, One Love, One Being" • • • • • • • • •
12
v
ACKNO"lLEDGEMENTS
The author wishes to acknowledge with sincere gratidude
the assistance given by David Elder, Robert Bassler, and John
Canavier.
Their combined efforts
~~d
guidance are greatly
'·
appreciated.
My appreciation is further extended to my sister, Sheila;
bro~her-in-law,
Bruce
Frieili~an;
and dear friend, Paula Jeppson.
Special thanks is given to Gloria Kisch whose friendship
and support is greatly valued.
vi
, ' -''"
----~--
., . ______,____ ,...,_________ !
I
I
I
ABSTRACT
L.I.T .A.S.
(LOST IN TIME AND SPACE)
Edward Lee Goldstein
Master of Arts in Art
January, 1980
The bronze sculptures in the series entitled
(LOST IN TIME AND SPACE)
L.I.T.A.S.
represents a continuing dialogue
between the environment which provides images and
sensat~~ns,
and the need to express the feelings which are aroused.
They
combine anthropomorphic forms with abstractions of naturally
oceuring elements and have an organic quality of timelessness.
Many of these sculptures at once appear ancient, futuristic,
and yet contemporary--strongly familiar, yet vaguely alien or
other-worldly.
These pieces were created over a two year period
and there is a definite transition from specifically figurative
to more abstract imagery.
Earlier sculptures such as the male and female nudes used
1
2
in the composition, "The Human Condition" (Plate 1), were figurative.
These two pieces are overtly sexual and expressionistic in nature.
The exaggeration of hands and feet, as well as the contorted torsos
and extremities,
cre~a
feeling of energy and movement.
Another
early work, "Meditation" (Plate 2), has a more subtle, sensual
quality.
structure.
It contains a female torso emerging from a seashell-like
Though small, rr.Medi tation" emits an energy which
generates a feeling of monumentality.
The concept of incorporating
figurative images within flower or seashell-like formats began to
occur more frequently after the completion of this sculpture.
Many elements of nature such as: flowers, mushrooms, and
seashells have a sensuous, womb-like quality.
There was a
fascination with the spiritual beauty and mystery surrounding
conception, fetal growth in its mother's womb, and birth.
The
above stated became central factors in the development of this
series.
The sculpture, "A Conceptual Thought" (Plate 3), has a womblike format, with a veined exterior, and a highly organic interior.
Attached to an inner wall is a small, vital fetal image representing the miracle of gestation (Plate
Dream" (Plate 5) contains
~
4).
"Crucifixion Of A
fetus which appears to be more fully
-·developed, but slightly deformed.
It seems as if this fetus was
retreating within the cramped confines of a pod-like womb which
it has long since outgrown.
Emotionally, this image is hiding
within the safe and old familiar confines of the past.
It is
afraid to emerge into a new world and a new life, and clings
3
-.-
--- ------- - - · - - - - - - ,
i
i
i
I
"The Human Condition" 1978
4 ·1nches high
18 inches long
Plate 1
"Meditation 11 1978
5 inches high
6 inches wide
Plate 2
4
-
·---·-----------,
"A Conceptual Thought"1978
16 inches high
20 inches long
Plate 3
"A Conceptual Thought"
(Inside detail)
Plate 4
5
--
'
-·
-
- -·-
- -·-·
-
-
-
--
I
I
"Crucifixtion Of A Dream~978
20 inches high
19 inches wide
Plate
5
6
tenaciously to the past.
There is an element of social commentary to many of these
sculptures.
"Self-fulfilling Prophecy" (Plate 6) is an abstraction
of a seashell on the outside, but the inside contains images
suggestive of an orgy (Plate 7).
Though sensuous, at first glance,
this piece is overtly sexual within.
"Self-fulfilling Prophecy"
is used to represent the decadence of a hedonistic society gone
mad--masking itself with the thin veneer of respectability.
"Woman In Bondage: (Plate 8) began as a female figure.
As the piece
developed, images representing societal pressures were added.
This
work represents the social and domestic responsibilities which
burden and entrap women, and the artificial expectations women are
supposed to fulfill.
This sculpture has a quality of strength
and stoicism, being "rootedtt to the ground by trunk-lik2 legs.
"A Woman Exposing Her Virtue" (Plate 9), being
twenty~hine
inches
high, is one of the larger works in the L.I.T.A.S. series.
It has a shell-like, womb-like format which contains the image
of a female nude spreading her legs.
The sculpture ;efers to
society and what it has valued in women.
The piece represents
an expose on the degradation of women.
"A Woman Exposing Her Virtue" was the last truly figurative
work in this series.
Aside from the sculpture entitled "Birth"
(Plate 10), which is an abstraction of a seashell, later works are
more highly abstracted.
"Unity Is Surcease" (Plate 11) has the
remote appearance of an animal horn which spirals in on itself
providing a feeling of movement and centering.
Negitive space is
7
"Self-Fulfilling Prophecy"
1978
13 inches high
14 inches long
Plate 6
"Self-Fulfilling Prophecy
(Inside detail)
Plate 7
8
"A Woman In Bondage" 1978
14 inches high
10 inches wide
Plate 8
II
k vloman Exposing Her
Virtue" 1978
29. inches high
10 inches wide
Plate 9
9
--- ------------------l
I
"Birth" 1979
31 inches high
20 inches wide
Plate 10
"Unity Is Surcease" 1979
22 inches high
15 inches wide
Plate 11
10
an important factor with this work and many of the sculptures
which followed.
"Lost In Time And Space" (Plate 12) has a
circular design, being relatively open centerally.
This particular
sculpture was inspired after viewing an unusual rock formation.
The sculpture entitled ttTime Tunnel" (Plate 13), and "One Mind,
One Love, One Being" (Plate 14) were the last bronzes completed
for the L.I.T.A.S. series.
Abstractions of the linear, concentric
designs observed on mushrooms appear on the surface of these two
sculptures.
The overall compositions of these works are completely
abstract and non-representational.
"l
11
------ ---------------l
•Lost In Time And Space"
1979
1$ inches high
8 inches wide
Plate 12
"Time Tunnel" 1979
20 inches high
21 inches long
Plate 13
12
-~
------------------
"One Mind, One Love, One
Being" 1979
20 inches high
11 inches wide
Plate 14
1
13
SUMMARY
Each work of sculpture, in the series entitled L.I.T.A.S.
(Lost In Time And Space), stands as an individual statement, while
collectively creating a theme dealing with the sensuous qualities
of universal life-forms found in nature.
related to those elements.
The human experience is
The unifying theme for this body of
bronze sculptures is the oneness and interdependence of Humankind
with all life.
J.
{l
APPENDIX
•
14
.APPENDIX
The surface patinas which appear on the L.I.T.A.S.
(Lost In
Time And Space) series of bTonze sculptures, vary from shiny, with
dark contrasts i.e. "Woman In Bondage", to highly decorative-with rich blues and earth tone colors i.e. "One Mind, One Love,
One Being" and "Birth".
A painterly approach was taken with
regards to the bronze's patinas.
Color was used for dramatic and
expressionistic purposes, when it was necessary to relate the
pieces to the corrosive and weathering effects of naturee
The Lost-Wax process of casting was used to create the
finished bronze sculptures.
The unique qualities of bronze, which
offer a wide variety of color, texture, and form allowed for
the creation of the personal, psychological images appearing in
this exhibit.
The majority of art works in the L.I.T.A.S.
(Lost In Time And Space)
series are considered maquettes
or models for large-scale sculptures.