Art historian Jo Baring's new book, "Totem," invites readers to explore the world of sculpture not as mere objects, but as profound reflections of the human spirit, drawing connections between natural forms and artistic creation.
Baring begins by highlighting how artists throughout history, from Barbara Hepworth and Henry Moore to contemporary figures like Antony Gormley, found inspiration in the natural world. She posits that even a simple pebble can be seen as a miniature work of art, a testament to the enduring human impulse to shape materials into forms that convey feeling or meaning, independent of immediate practical use.
The book examines iconic works such as Antony Gormley's "Angel of the North," described by the artist as a "totem pole for the North East," and contrasts it with traditional statues. Baring acknowledges the diverse interpretations of sculpture, from representations of historical figures to abstract expressions.
While "Totem" is not a comprehensive art history, it offers a personal exploration of sculpture's symbolic power. Baring delves into the etymology of the word "totem," tracing its origins to the Ojibwe word "ototeman," meaning "to dwell together," suggesting that sculpture, like a totem, can represent a shared experience and community.
Baring guides readers on a global journey, examining prehistoric artifacts like the lion-man figure, ancient Mayan pyramids, and the innovations of 20th-century sculptors. The book illustrates how sculpture can express themes of power, loss, identity, and the human need to create meaning through form. Baring suggests viewing sculpture as a "vessel, a holder of human knowledge, and imagination," and a repository of place and community that outlasts individuals.
"Totem" connects ancient and modern works, such as the Shigir Idol—a prehistoric wooden carving twice the age of the pyramids—to the expressive power found in the works of Henry Moore and Barbara Hepworth, noting the seemingly modern expressions of dread in ancient artifacts. The book also introduces artists who have expanded the possibilities of sculpture, including Constantin Brancusi, Louise Bourgeois, Yayoi Kusama, and Bharti Kher, who speaks to the artists' quest to capture the elusive human spirit.
Ultimately, Baring encourages readers to engage with sculpture on a personal level, emphasizing that individual responses, whether admiration, amusement, or awe, are what matter. The book invites readers to look closely, move around a work, and allow their spirits to respond and connect with the art.
