Tom Sachs

Tom-Sachs-port

TOM-SACHS---Konichiwa-Fountain_2014

Konichiwa, 2014, Bronze, 86 x 30 Inches
Photo By: Manfredi Gioacchini

TOM-SACHS_STUPA_2013

Stupa, 2013, Bronze, 123 x 24 x 24 in

Tom-Sachs-Big-Mac-Container-2007

Big Mac Box, 2007, Fabricated Bronze and paint, 3.3 x 5.3 x 4.9 in

Tom-Sachs-Brute-20081

Brute, 2008, Fabricated Bronze, 27.5 x 5 x 22 in

Tom-Sachs-Crying-Hello-Kitty-Miffy-2008

Crying Hello Kitty and Miffy, 2008

Tom-Sachs-Dumpster-2008

Dumpster, 2008, Fabricated Bronze, 21.5 x 12.5 x 10.5 in

Tom-Sachs-Kama-2013

Kama, 2013, Bronze, 13.5 x 13.5 x 10.25 in

Tom-Sachs-Love-Birds-at-Ropac

Love Birds, 2008, Bronze & Paint 24 x 38 x 16 in

Tom Sachs - 2012 - McMaster-Carr Catalog

McMaster-Carr, 2012, Bronze & Paint, 3 x 7.25 x 10 in

Tom-Sachs-My-Melody_Lever-House-2008

My Melody, 2008, Bronze & Paint, 120 x 79.2 x 60 in, Lever House, New York

Tom-Sachs-Quarter-Pipe-Lever-House-2008

Quarter Pipe, 2008, Bronze, 40 x 72 x 78 in, Lever House, New York

Tom-Sachs-Saturn-V-2012

Saturn V, 2012, Bronze, 57.5 x 10.5 x 10.5 in

Tom-Sachs-Unite-Lamp-2008

Unite Lamp, 2008, Bronze, 36 x 36 x 30 in, Lever House, New York

Tom-Sachs-Wind-Up-Hello-Kitty-2008

Wind-up Hello Kitty, 2008, Bronze, Auto Paint, 216 x 132 x 108 in, Lever House, New York

TOM SACHS is a sculptor, probably best known for his elaborate recreations of various Modern icons, all of them masterpieces of engineering and design of one kind or another. In an early show he made Knoll office furniture out of phone books and duct tape; later, he recreated Le Corbusier's 1952 Unité d'Habitation using only foamcore and a glue gun. Other projects have included his versions of various Cold War masterpieces, like the Apollo 11 Lunar Excursion Module, and the bridge of the battleship USS Enterprise. And because no engineering project is more complex and pervasive than the corporate ecosystem, he's done versions of those, too, including a McDonald's he built using plywood, glue, assorted kitchen appliances. He's also done Hello Kitty and her friends in materials ranging from foamcore to bronze. 

A lot has been made of the conceptual underpinnings of these sculptures: how Sachs' sampling capitalist culture, remixing, dubbing and spitting it back out again, so that the results are transformed and transforming. Equally, if not more important, is his total embrace of "showing his work." All the steps that led up to the end result are always on display. On a practical level, this means that all seams, joints, screws or for that matter anything holding stuff together, like foamcore and plywood, are left exposed. Nothing is erased, sanded away, or rendered invisible. On a more philosophical level, this means that nothing Sachs makes is ever finished. Like any good engineering project, everything can always be stripped down, stripped out, redesigned and improved.