Outside the door of the home of a sculptor and his mother, fell a poor, friendless young girl. They took the girl in and cared for her, and as time went on the mother began to regard her as her daughter. The son regarded the affectionate advances of the girl with only brotherly love. But there came a time when the misgivings of the son changed, for he began to pay scant attentions to a young beauty he met at a reception and who was characterized as a woman with a heart "cold as marble." This piqued the beauty, who was accustomed to abject adulation. She determined to bring him to her feet and in this she succeeded. She offered to pose for him, and, spurred on by such a splendid model and her praises, he produced a figure which was acclaimed by all the critics as a masterpiece.
A woman abandoned by her lover sells his body to a sculptor, who is the best friend of her lover.
Der surrealistische Film entstand kurz nach Bunuels Erfolgsfilm 'Un chien andalou' (1929), allerdings dieses Mal ohne Salvador Dalí. Es handelt sich um eine Kritik an Bourgeoisie und Christentum.
Christine Hunter kills an intruder and tells her husband and lawyer that it was an act of self-defense. It's later revealed that he was actually her lover and she had posed for an incriminating statue he created.
Legendary superstar María Félix, stars in this melodrama noir playing the role of Raquel, a woman who has a passionate love affair with married aristocrat Antonio. However, a sensual sculpture untitled “The Kneeling Goddess” and modeled after Raquel will lead Antonio down a memory lane he'd rather soon forget.
The Living Stone is a 1958 Canadian short documentary film directed by John Feeney about Inuit art. It shows the inspiration behind Inuit sculpture. The Inuit approach to the work is to release the image the artist sees imprisoned in the rough stone. The film centres on an old legend about the carving of the image of a sea spirit to bring food to a hungry camp. It was nominated for an Academy Award for Best Documentary Short.
Der arme Walter Paisley (Dick Miller) wäre für sein Leben gern ein angesehener Künstler, doch leider fehlt ihm dazu jegliches Talent, was seinen Bildhauerambitionen nicht entgegen kommt. Folglich muß er seine Brötchen auch als Gehilfe und Tellerwäscher in dem Künstlercafe "Yellow Door" verdienen, wo er von Literaten, Malern und anderen Künstlern stets umgeben ist. Als er eines Nachts versehentlich die Katze seiner Vermieterin umbringt, weiß er sich nicht anders zu helfen, als sie mittels Ton und Gips in ein Kunstwerk zu verwandeln - das im Cafe am nächsten Tag wie eine Bombe einschlägt. Doch der Erfolg hat seine Schattenseiten, denn ein Undercover-Cop-Duo auf der Jagd nach Heroin führt schließlich zu einer ersten menschlichen Leiche, die ein noch gefeierteres Schaustück abgibt. Und plötzlich sieht sich Walter in der Lage, irgendwie noch mehr Leichen zu produzieren, damit er seinen Künstlerplatz an der Sonne behalten kann.
A short, experimental documentary featuring sculptures by Alonso de Berruguete and Juan de Juni. Shot within the Valladolid National Museum, the film is an excercise in what Val de Omar called "Tactile vision".
A short documentary by Hiroshi Teshigahara about his father, the sculptor Sofu Teshigahara, preparing an exhibition.
An experimental short film combining modern dance and depiction of sculpting.
A happy little potter is approached by a huge hand which wants him to sculpt its statue. The potter refuses, wanting nothing more than to be left alone with his only friend, a potted plant. As the hand's request gives way to bribery, demands, and threats, the potter becomes more desperate to escape its clutch, leading to tragedy.
Avant-garde short by Lawrence Jordan.
Eine mysteriöser Mörder geht um, der bei seinen Opfern jedes Mal eine Puppe zurück lässt, die dem jeweiligen Opfer wie aus dem Gesicht geschnitten schneit. Zunächst ratlos, kommt Inspektor Holloway schnell auf die Spur der rätselhaften Puppenherstellerin "Von Sturm" und der Sohn Mark. Doch haben sie wirklich was mit den Morden zu tun? Oder ist das alles nur ein schrecklicher Zufall? Zumal die Opfer auch allesamt eine Verbindung zu den "Von Sturms" haben...
The Arts Council commissioned this film to coincide with their major retrospective of Giacometti's work at the Tate Gallery (now Tate Britain) in the summer of 1965. A similar exhibition was held concurrently at the Museum of Modern Art in New York, sealing the artist's reputation as a modern master.
The war is over. Once a young sculptor, and now a soldier, he returned home. Married, there were children. In search of work, he was hired to make grave monuments. Time passed... At one time, visiting a cemetery with friends, he saw with different eyes all his work done over the years...
Der Journalist Claude Marchand erhält den Auftrag, den bekannten Bildhauer Bardolesco zu interviewen. Bardolesco ist durch einen von seiner Frau verschuldeten Unfall erblindet und gehbehindert. Für seine Skulpturen benötigt er als Grundstein menschliche Skelette. Seine Frau besorgt sie ihm. Claude Marchand kommt hinter das Geheimnis Bardolescos und stößt dabei auf entsetzliche Spuren...
Enter the imaginative world of acclaimed sculptor Rolanda Polonsky, who had been a resident of Netherne Psychiatric Hospital in Coulsdon, Surrey for 26 years when this film was made. One of the positive aspects of her illness, described in the film as a schizophrenia, is that it "tapped a deep source of mystical vision and human feeling" which finds expression in her work.
In 1971, Jean-Daniel Pollet & Guy Seligmann directed for French TV a documentary about French artist César Baldaccini. It was part of L'invité du dimanche show.
“In this legendary sculpture/performance Acconci lay beneath a ramp built in the Sonnabend Gallery. Over the course of three weeks, he masturbated eight hours a day while murmuring things like, "You're pushing your cunt down on my mouth" or "You're ramming your cock down into my ass." Not only does the architectural intervention presage much of his subsequent work, but all of Acconci's fixations converge in this, the spiritual sphincter of his art. In Seedbed Acconci is the producer and the receiver of the work's pleasure. He is simultaneously public and private, making marks yet leaving little behind, and demonstrating ultra-awareness of his viewer while being in a semi-trance state.” – Jerry Saltz (via: http://www.ubu.com/film/acconci_seedbed.html)