97-3/4 × 30 × 25 inches
Lent by The Metropolitan Museum of Art,
Purchase, Louis and Bessie Adler Foundation, Inc. Gift (Seymour M. Klein, President), 1983
Photography not permitted
Location: Bass Concert Hall Lobby
Born in Indiana, Bryan Hunt attended the University of South Florida with the intention of becoming an architect but soon found himself more intrigued by painting. In 1967–68 he worked as a technical assistant at the Kennedy Space Center at Cape Canaveral; that brief interlude sparked a strong interest in technology’s role in modern consciousness. He then moved to Los Angeles to attend the Otis Art Institute, where he obtained his BFA in 1971.
Hunt’s sculptures in the early 1970s were architectural models of famous landmark structures, such as the Hoover Dam and the Empire State Building. Then, while bedridden with a serious illness, Hunt read voraciously, particularly books on modern philosophy and literary theory by such authors as Jean-Paul Sartre and Roland Barthes. He also admired the purist aesthetics of Barnett Newman and the newly established minimalists.
When Hunt returned to making sculpture, he combined the clarity of minimalist forms with motifs from the real world. Intrigued by historical aviation rather than contemporary jet or rocket technology, he made an elegantly simplified model of a dirigible (also known as a zeppelin or blimp) and incorporated it into startling compositions in which the airship appears to float weightlessly, often with its front end stuck into a wall.
Hunt changed his approach again in 1979–80. Fascinated by topography, he modeled amorphous sculptures of Lakes and Waterfalls. The bronze surfaces were highly articulated to convey a sense of energy—a stylistic tradition established by Auguste Rodin in the 1880s and revitalized by Alberto Giacometti in the 1940s and 1950s. Hunt was specifically inspired by Willem de Kooning’s sculptures of the 1970s.
Throughout the 1980s, Hunt focused on motifs from classical Greek art and culture. His Maenad sculptures, although abstract, evoke the swirling draperies of Hellenistic sculptures. Amphora refers to a tall, slender, two-handled vessel, usually made of clay and used to store food and drink, especially wine. Rather than a sturdy, practical container, Hunt’s Amphora is flat and visually unstable; it serves primarily as a pretext for modeling form and creating expressive surfaces. Viewers are free to solely enjoy the visual, but we might also see an analogy for the diminished appreciation of most classical culture today.
Glenn, Constance W. “A Conversation with Bryan Hunt.” Architectural Digest 40 (March 1983): 68, 72, 74.
Green, Nancy E., ed. Bryan Hunt: Falls and Figures. Ithaca, NY: Offices of Publication Services, Cornell University, 1988. Text by Phyllis Tuchman.
Museum of Modern Art. Conversations with Nature. New York, 1982.
Reed, Dupuy Warrick. “Bryan Hunt.” Flash Art 104 (October/November 1981): 49–50.
Saunders, Wade. “Hot Metal.” Art in America 68 (Summer 1980): 86–95.
Shapiro, Michael Edward. “Four Sculptors on Bronze Casting: Nancy Graves, Bryan Hunt, Joel Shapiro, Herk Van Tongeren.” Arts Magazine 58 (December 1983): 111–17.
Tuchman, Phyllis. “Bryan Hunt’s Balancing Act.” Art News 84 (October 1985): 64–73.
Westfall, Stephen. “Touched in Bronze.” Art in America 77 (April 1989): 250–55, 285.