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Studio Job - Job Smeets and Nynke Tynagel ‘Homework: Pinocchio’, from the ‘Homework’ series 2008 Cast bronze, wenge. 76 x 19 1/4 x 19 1/4 in (193 x 48.9 x 48.9 cm) including pedestal Produced by Studio Job, the Netherlands for Moss, USA. Number 3 from the edition of 5. One leg impressed with ‘JOB 08 3 / 5’.
Provenance Commissioned directly from the artists Exhibited ‘Homework: Domestic Totems and Tableaux’, Moss, New York, May 19 – July 14, 2007 Literature Sophie Lovell, Limited Editions, Prototypes, One-Offs, and Design Art Furniture, Basel, 2009, p. 150 Studio Job: The Book of Job, New York, 2010, pp. 154, 158 Sue-An Zijp and Mark Wilson Studio Job & the Gruninger Museum, Wommelgen, 2011, pp. 41, 73 Arlene Hirst, ‘Murray Moss’, Elle Décor Italia, May 2012, illustrated pp, 149-150 Arlene Hirst, ‘Moss 2.0’, Modern Magazine, Summer 2012, illustrated p. 76 Catalogue Essay Studio Job’s ‘Homework’ series is a suite of 8 works: 7 heroic compositions in bronze, glass, and wood plus 1 monumental wall mirror, all exclusive to Moss. ‘Pinocchio’ is one of the masterworks in the suite, and the piece used as the ‘face’ of the collection. It is a totem of individual elements – a milking stool and two cooking pots. Part domestic utility, part heroic sculpture, these precious hand-wrought common household objects – including fully-functional cooking pots, stools, lanterns, and coal bins – magnified to exalted proportions, rendered in polished bronze, and placed upon aged wooden pedestals like sacred statuary or palatial historical busts, define the term ‘oxymoron’, and cast to the winds the traditional approach to both sculptural as well as design practice. With a genealogy somewhere between Duchamp and Koons, these seductive, pseudo-erotic objects, redolent with consumer desire, are neither purely Commodity nor purely Art, but dwell in an uneasy zone between object and objet d’art. Transmitting clear visual references to both classical sculpture and iconic design, these mutant works suggest a narrative and history and mythology, which, in fact, are never explained. Alluding to its humorous, satirical commentary, Marcus Fairs, in his book 21st Century Design: New Design Icons from Mass Market to Avant-Garde, characterizes Studio Job’s work as hovering “between art, design and burlesque.” Read More