The Works of Tony Rosenthal
Cubes & Squares
Tony Rosenthal Cubes are like a city, intelligent formations with secrets, hiding, balancing, and finding in limitations all the possibilities of a mixed society. Within a Rosenthal Cube, we see other shapes, planes, exposed creating steps or stairs, like a mountain difficult to climb. But climb we do, because it is the invention of clean geometry that makes man other than nature.
Rings, Discs & Rondos
During his career Tony Rosenthal created a diverse body of Rings, Discs and Rondo sculptures, ranging from tabletop sculptures of several inches to monumental public art visible around the clock. Rosenthal created his series of Rings to reflect the environment; in effect, the sculpture becomes a frame, with which to see the environment through.
Being framed by the romance of a point of view, the feeling of movement, and the reverberation of movement, those who pass 5 in 1, the 35-foot public art sculpture, installed at 1 Police Place enjoy the juxtaposition of the sculpture within New York's financial district, whether summoned to jury duty, going to work or enjoying the area. Viewers see the vigor from the choices that are commanded by Rosenthal's disc sculptures; Tony Rosenthal finds, discovers and reports to us what we might not have seen without him.
In his ninth decade, Tony Rosenthal created a masterful series of large and small abstract wall sculptures in wood and metal, some painted black, others painted in primary colors, others left raw. In Rosenthal's 2006 Cat's Eye series, the yellow and black shapes resemble the human figure in profile within the confines of geometric circles and rectangles while Rosenthal's series of black and rust metal wall sculptures are an homage to Franz Kline, transforming into abstract handwriting on the wall.
In 1997 Tony Rosenthal began creating Accumulations, a series of bronze and aluminum sculptures, he called three dimensional sketches that seem to float in space. By adding one unit to another, Tony Rosenthal welded each element into place, creating Accumulations, sculptures in large and small scale that look random. In the Tony Rosenthal monograph, Sam Hunter observes "the process of allowing the work in progress to dictate, or, at least, to hint at its final form, and of exploring formal options as they present themselves, typifies Rosenthal's current and refreshing new methodology."
Columns, Totems & Fugues
Tony Rosenthal created a variety of vertical sculptures ranging from 12 inches all the way up to 81 feet tall. Switching mediums from brass in the 1950s to painted aluminum and steel in the late 1980s and early 1990s his work transitioned from traditional, to modern, to new heights unseen.