Sculptures and universal meaning

In recent years, public sculpture in America has come under scrutiny for its racial biases and the cultural exclusion of ethnic minorities. These critiques challenge us to reconsider not only what is represented in public art, but who is left out. In Berkshire County, Massachusetts, especially in the summer, sculpture is everywhere. From the grounds of the Edith Wharton House to Turn Park and Chesterwood, sculpture parks are woven into the cultural landscape. Art in the Berkshires is part of the seasonal indulgence of the middle and upper classes, many of whom visit as part of their vacation or reside here in summer homes. Sculptures are acquired for enjoyment, for investment, and for the prestige they confer.

But how should one make sense of a sculpture—whether it’s a literal rendering of reality or an abstract form? Janet Wolff, in her 1984 book The Social Production of Art, reminds us that all art is a social product. Sculpture, like any art form, carries meaning on multiple levels: it reflects the vision of the sculptor, the influence of their creative community, the values of the society in which it is produced, and the interpretations of those who engage with it. These meanings shift across time and space, and some argue that truly effective art is that which sustains its appeal across generations.

Recently, I attended the annual bronze-pouring demonstration by Andrew DeVries, a New England-based sculptor who has been working in bronze for over 40 years. At his River Studio in Middlefield, Massachusetts, DeVries spoke about the importance of studying the masters—a practice he credits as key to his success. One of his recurring themes is dancers in motion, capturing a sense of freedom and grace. The ballet dancer, in particular, is a symbol of high culture in Western society, one that is deeply layered with gender and racial positioning. DeVries explained that he aims to evoke a feeling of freedom that defies gravity.

His work prompted me to reflect on the themes that transcend culture and time. While every sculpture is born from a specific social and cultural context, some speak to universal human experiences. The desire for freedom, the beauty of movement, the resilience of the human spirit—these are themes that resonate across boundaries. We can appreciate and be inspired by sculpture that expresses such universal truths, even as we remain mindful of the socio-centric lens through which it was created.

In an era when public art is being reevaluated, perhaps sculpture can serve as both a mirror and a window—reflecting the complexities of our society while offering glimpses into shared human aspirations.