Jonathan Prince Press

  • Jonathan Prince ANE

    Geometric Breathing
    Inside the world of Jonathan Prince

    by Cate McQuaid
    Art New England, Jan-Feb, 2015

    The breaks can be beautiful, like the internal life we all struggle with and have to embrace. 

    Many of his sculptures look as if a giant has come at it with a pickaxe and hacked a pice off. Inside the wound, shimmering stainless steel ripples like a slide of liquid mercury, winking in the light. It’s gorgeous, unpredictable, vulnerable and deeply alive in contrast to the rusty planes that barely contain it.

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  • Jonathan Prince Autre

    Liquid State: An Interview with Sculptor Jonathan Prince

    by Autre
    Nov, 20, 2014

     If I am using photography – ink or stainless steel – I am always trying to deepen my own investigation… 

    Almost all of my work through the years has looked at the boundaries between internal and external from or what we see on the surface but feel inside.  My liquid state series are the first works that I have done which seem to have no exterior skin – in other words – the forms are made from only internal material in a figurative sense.

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  • Jonathan Prince Boston Globe

    A contemporary sculpture exhibit at The Mount, Lenox

    by Ellen Albanese
    The Boston Globe, Oct, 12, 2012

     Through October, the historic property is showing contemporary flair. 

    From Ma Harding’s zebra-striped steel and pigment structure sed against the historic stable, to Rickey’s stainless steel, undulating four L’s to Erdman’s flowing, bronze “Continuum”, to Prince’s “Bore Block”, the sculptures are whimsical and thought-provoking.

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  • Jonathan Prince American Art Collector

    Art on the Way

    by James Balestrieri
    American Art Collector, January, 2012

     The red, orange and brown rust glows like fine sand at evening, begging to be touched.

    In the low atrium hum, amid the polite acoustic din of a public New York City space, Jonathan Prince’s majestic sculpture installation Torn Steel, in the Sculpture Garden of the IBM Building – 590 Madison Avenue at 56th street- is a meditation in waiting…

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  • Jonathan Prince ArtDaily

    Jonathan Prince makes his mark on Madison Avenue with new body of work “States of Matter”

    by Artdaily 
    Feb, 10, 2012

    Known for his work in African and Cambrian black granite, Prince has, over the past two years, broadened his visual inquiry through a vanguard technique of “tearing steel”. 

    James Balestrieri wrote: ” The contrast between the outer, oxidized surfaces, and the tears – areas of highly polished new steel – indicate the passage of time, neglect, forgetting. This is the Stonehenge of and advance civilization… Yet, strange to say, it’s the oxidization, the rust, if you will, that keeps the works for feeling unapproachable.

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  • Jonathan Prince GalleristNY

    Eli and Edythe Broad Art Museum Acquires Sculpture by Jonathan Prince

    by Michael H. Miller
    GalleristNY, Nov, 20, 2012

     Vestigial Block was first exhibited at the Sculpture Garden at 590 Madison Avenue… 

    Sculptor Jonathan Prince’s Vestigial Block has been permanently installed at the recently-opened Eli and Edythe Broad Art Museum a Michigan State…

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  • Jonathan Prince World Sculpture News

    Jonathan Prince’s Sculpture to the Sun

    by Architects and Artisans
    Oct, 25, 2012

     It appears to be part Pac man, part wheel fragment, part idol, and part oxidized steel and liquid mercury. 

    It does not really fit James Wines’ definition of “Plop art”, that dismissive term used to describe large abstract works placed in corporate settings. G2V seems more of a thoughtful sort of broken from, or a poem or dream from another time.

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  • Jonathan Prince World Sculpture News

    Confronting the Monumental

    by Dorothy Joiner
    World Sculpture News, Winter, 2012

     It is into these massive works that he pours not only a prodigious energy but also the manifold lessons garnered from his varied experiences. 

    Not only does an aspiring sculptor relinquish the relative stability of a salaried job for the aleatory existence of an artist, but he must also wrestle with what Prince calls the “600-pound gorilla.” That “gorilla,” he explains, is the almost crushing weight of tradition: the influence of all the great artists whose work he knew so well and loved…

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