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A Study on Resistance in the Works of Phyllida Barlow

  • Journal of History of Modern Art
  • 2024, (56), pp.189-209
  • DOI : 10.17057/kahoma.2024..56.008
  • Publisher : 현대미술사학회
  • Research Area : Arts and Kinesiology > Art > Arts in general > Art History
  • Received : October 25, 2024
  • Accepted : November 29, 2024
  • Published : December 31, 2024

Ara Jo 1

1홍익대

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ABSTRACT

This study focuses on the resistant characteristics in the work of British sculptor Phyllida Barlow (1944–2023). Although Barlow consistently worked from the 1960s, she only gained significant attention from the art world in the 2010s, as she entered her later years. Her work primarily involved stacking, connecting, hanging, and wrapping variable materials, such as scrap wood, Styrofoam, fabric, and tape-everyday items that she transformed into unique abstract forms. For Barlow, sculpture was not a static object but a “state” in constant flux. Rather than starting with a fixed concept or purpose, she considered “the actual way of making” as the work itself, emphasizing how it interacts with space and the audience. In doing so, she consistently challenged traditional notions of sculpture, institutional norms, and traditional monuments. The anti-monumental, anti-formal, and theatrical aspects of Barlow’s work are closely related to the rebellious gestures of “eccentric abstraction,” a term coined by Lucy Lippard in 1966. By comparing eccentric abstraction with Barlow’s work, this study aims to situate Barlow within the broader history of art and to analyze how her method of “making” materials, structures, and space contributed to the development of her distinctive aesthetics of resistance.

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