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SOM#084, Elbert Weinberg, Pandora One - Pandora Two, 1971
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From the collection of John Birks
Numbers Issued: 1,223 Bronze
FROM THE ARTIST
PANDORA
Men have always employed parables to explain threatening phenomena of both natural and social origins. No doubt these symbolic tales referred to specific events, but later became generalized corollaries. So it appears in the case of the storied "Pandora's Box", an early attempt to grapple with the idea of evil in the world. It appears to be directed at anyone forbidden to trespass, a suggestion that certain areas of endeavor held unforeseeable danger. We are warned not to loose forces which may pass beyond our control.
In "Pandora One", evil is seen as pestilence, famine, the barbarian Lords, all these threats being grouped together whether caused by a merciless and rampant nature or aggressive man. They are seen as eternal, outside forces crushing in upon a victim, all responsibility and guilt residing exclusively in the other.
"Pandora Two" permits no transference of guilt. We existentially become responsible for our acts and guilty if our trespasses rob ourselves and others of human dignity or life itself. In "Pandora Two" we face the ultimate instrument of war, the ultimate bomb. The parable widens to include our most insidious achievement, the ability to eliminate ourselves from this planet. - Elbert Weinberg, 1971
ABOUT THE ARTIST
Elbert Weinberg was born in Hartford, Connecticut, in 1928. He attended the Hartford Art School night classes while still in high school and afterwards studied there full time with Henry Kreis. Later art education includes a B.F.A. from the Rhode Island School of Design where he worked under Waldemar Raemisch. An M.F.A. was earned at Yale in 1955. Awards given to him have been the Prix de Rome; Guggenheim Fellowship; Progressive Architecture Award; Silver Medal of Achievement in the Arts, Yale University; and a National Institute of Arts and Letters award for sculpture. Commissions he has executed include a "Procession" for the Jewish Museum of New York, a Washington, D.C. synagogue, and another in Steubenville, Ohio; an eagle for the Federal Reserve Bank of Atlanta, Georgia: a "Jacob Wresting with the Angel" for Brandeis University; bronzes for Chapel House, Colgate University; the Jewish community Center of White Plains; and a terra cotta relief wall for a lobby in New York City.
His work is in the collection of the Museum of Modern Art, the Brooklyn Museum, Jewish Museum of New York, the Museum of the Rhode Island School for Design, the Wadsworth Athaeneum, Hartford, Connecticut; the Brockton Museum, Massachusetts; the Addison Gallery of American Art; Yale Art Museum, and in many private collections. His one man shows have taken place in the Borgenicht Gallery in New York, the Mirski Gallery in Boston and the Alpha Gallery in Boston. His works have appeared in many cites of the United States and in Europe. From 1959 to 1970 he resided in Rome, Italy, and now lives and works in Boston where he is teaching sculpture at Boston University.
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![SOM#084, Elbert Weinberg, Pandora One - Pandora Two, 1971
[b]From the collection of John Birks[/b]
[i]Numbers Issued: 1,223 Bronze[/i]
[b]FROM THE ARTIST[/b]
[i]PANDORA[/i]
Men have always employed parables to explain threatening phenomena of both natural and social origins. No doubt these symbolic tales referred to specific events, but later became generalized corollaries. So it appears in the case of the storied "Pandora's Box", an early attempt to grapple with the idea of evil in the world. It appears to be directed at anyone forbidden to trespass, a suggestion that certain areas of endeavor held unforeseeable danger. We are warned not to loose forces which may pass beyond our control.
In "Pandora One", evil is seen as pestilence, famine, the barbarian Lords, all these threats being grouped together whether caused by a merciless and rampant nature or aggressive man. They are seen as eternal, outside forces crushing in upon a victim, all responsibility and guilt residing exclusively in the other.
"Pandora Two" permits no transference of guilt. We existentially become responsible for our acts and guilty if our trespasses rob ourselves and others of human dignity or life itself. In "Pandora Two" we face the ultimate instrument of war, the ultimate bomb. The parable widens to include our most insidious achievement, the ability to eliminate ourselves from this planet. - Elbert Weinberg, 1971
[b]ABOUT THE ARTIST[/b]
Elbert Weinberg was born in Hartford, Connecticut, in 1928. He attended the Hartford Art School night classes while still in high school and afterwards studied there full time with Henry Kreis. Later art education includes a B.F.A. from the Rhode Island School of Design where he worked under Waldemar Raemisch. An M.F.A. was earned at Yale in 1955. Awards given to him have been the Prix de Rome; Guggenheim Fellowship; Progressive Architecture Award; Silver Medal of Achievement in the Arts, Yale University; and a National Institute of Arts and Letters award for sculpture. Commissions he has executed include a "Procession" for the Jewish Museum of New York, a Washington, D.C. synagogue, and another in Steubenville, Ohio; an eagle for the Federal Reserve Bank of Atlanta, Georgia: a "Jacob Wresting with the Angel" for Brandeis University; bronzes for Chapel House, Colgate University; the Jewish community Center of White Plains; and a terra cotta relief wall for a lobby in New York City.
His work is in the collection of the Museum of Modern Art, the Brooklyn Museum, Jewish Museum of New York, the Museum of the Rhode Island School for Design, the Wadsworth Athaeneum, Hartford, Connecticut; the Brockton Museum, Massachusetts; the Addison Gallery of American Art; Yale Art Museum, and in many private collections. His one man shows have taken place in the Borgenicht Gallery in New York, the Mirski Gallery in Boston and the Alpha Gallery in Boston. His works have appeared in many cites of the United States and in Europe. From 1959 to 1970 he resided in Rome, Italy, and now lives and works in Boston where he is teaching sculpture at Boston University.
Keywords: SOM](albums/userpics/10001/SOM%23084-combo~1.jpg "SOM#084, Elbert Weinberg, Pandora One - Pandora Two, 1971
[b]From the collection of John Birks[/b]
[i]Numbers Issued: 1,223 Bronze[/i]
[b]FROM THE ARTIST[/b]
[i]PANDORA[/i]
Men have always employed parables to explain threatening phenomena of both natural and social origins. No doubt these symbolic tales referred to specific events, but later became generalized corollaries. So it appears in the case of the storied \"Pandora's Box\", an early attempt to grapple with the idea of evil in the world. It appears to be directed at anyone forbidden to trespass, a suggestion that certain areas of endeavor held unforeseeable danger. We are warned not to loose forces which may pass beyond our control.
In \"Pandora One\", evil is seen as pestilence, famine, the barbarian Lords, all these threats being grouped together whether caused by a merciless and rampant nature or aggressive man. They are seen as eternal, outside forces crushing in upon a victim, all responsibility and guilt residing exclusively in the other.
\"Pandora Two\" permits no transference of guilt. We existentially become responsible for our acts and guilty if our trespasses rob ourselves and others of human dignity or life itself. In \"Pandora Two\" we face the ultimate instrument of war, the ultimate bomb. The parable widens to include our most insidious achievement, the ability to eliminate ourselves from this planet. - Elbert Weinberg, 1971
[b]ABOUT THE ARTIST[/b]
Elbert Weinberg was born in Hartford, Connecticut, in 1928. He attended the Hartford Art School night classes while still in high school and afterwards studied there full time with Henry Kreis. Later art education includes a B.F.A. from the Rhode Island School of Design where he worked under Waldemar Raemisch. An M.F.A. was earned at Yale in 1955. Awards given to him have been the Prix de Rome; Guggenheim Fellowship; Progressive Architecture Award; Silver Medal of Achievement in the Arts, Yale University; and a National Institute of Arts and Letters award for sculpture. Commissions he has executed include a \"Procession\" for the Jewish Museum of New York, a Washington, D.C. synagogue, and another in Steubenville, Ohio; an eagle for the Federal Reserve Bank of Atlanta, Georgia: a \"Jacob Wresting with the Angel\" for Brandeis University; bronzes for Chapel House, Colgate University; the Jewish community Center of White Plains; and a terra cotta relief wall for a lobby in New York City.
His work is in the collection of the Museum of Modern Art, the Brooklyn Museum, Jewish Museum of New York, the Museum of the Rhode Island School for Design, the Wadsworth Athaeneum, Hartford, Connecticut; the Brockton Museum, Massachusetts; the Addison Gallery of American Art; Yale Art Museum, and in many private collections. His one man shows have taken place in the Borgenicht Gallery in New York, the Mirski Gallery in Boston and the Alpha Gallery in Boston. His works have appeared in many cites of the United States and in Europe. From 1959 to 1970 he resided in Rome, Italy, and now lives and works in Boston where he is teaching sculpture at Boston University.
Keywords: SOM")
