Presence: The Art of Portrait Sculpture, published to accompany an exhibition on view at the Holburne Museum through September 2, addresses an eerie quality shared by portraiture from antiquity to the present. What ties these three-dimensional works together is an undeniable presence—a strange, life-like quality beneath their stony (or waxy, or wooden, or bronze) surfaces. In this book, Sturgis manages to capture and articulate the uncanniness behind portrait sculpture. Whatever a portrait sculpture’s style (hyper-realistic or subtractive and archetypal), when we come face-to-face with one, we succumb to an almost uncomfortable sensation as we try to reconcile the sentient presence we feel with our knowledge that the work is, in fact, inanimate. This sense of presence, and fear of it, in inanimate objects has been a subject of great fascination throughout time. From Hoffman’s Olimpia in “The Sandman” to Blade Runner’s replicants, to the wax figures of Madame Tussauds, there are many examples of our obsession with the thin dividing line between animate and inanimate, real and unreal. This quality, this presence, this ambiguity, lies behind the powerful and endlessly captivating power of portrait sculpture, which Sturgis demonstrates in his comprehensive survey of three-dimensional portraits. Continue reading →