Barros, Ricardo. Facing Sculpture: A Portfolio of Portraits, Sciupture and Related Ideas by Ricardo Barros.

Image Spring Press. 2004. Hardcover with dust jacket, like new. Introduction by Nick Capasso.  166 pages.  Portraits in black-and-white photos by Barros of sculptors with picture of their sculpture on facing page. At time of publication, Barros had been the principal photographer at Grounds for Sculpture and its founder, J. Seward Johnson, Jr. is one of the sculptors included in the this remarkable collection of portraits of 61 artists. Others depicted include Joseph Acquah, Ming Fay, John Goodyear, Luis Jimenez, Marisol, Paul Matisse, George Segal, Jonathan Shahn, Marilyn Simon, Autin Wright, et al.  Summary:

Facing Sculpture  is a photographic art book that explores the creative intersection between portraiture and sculpture through the lens of photographer Ricardo Barros. The volume comprises  richly composed images that bring together portraits of contemporary sculptors alongside depictions of their work, accompanied by insightful texts that deepen the viewer’s understanding of each artist’s creative presence.

The book presents about sixty distinctive portraits, each uniquely composed, lit, and conceived to reflect not only the sculptor’s physical likeness but the psychological and creative dialogue between artist and medium. Barros’s approach avoids a formulaic style; instead, he fosters an intuitive collaboration with his subjects that brings out nuances of personality and artistic identity. These portraits and associated images aim to merge the human being with their sculptural expression, revealing how each artist faces their material and ideas.

Curator Nick Capasso’s introduction frames the work within contemporary sculpture, emphasizing Barros’s ability to engage deeply with his subjects and make images that are both formally compelling and psychologically resonant. In an extensive photographer’s afterword, Barros reflects on his experiences making these portraits and on the evolution of his artistic vision.

The book is celebrated not just as a documentary of sculptors but as a creative and reflective art project that blurs the boundaries between sculpture and photography. Reviews highlight Barros’s sensitivity, critical nuance, and ability to draw viewers into a deeper appreciation of both the artists and their work.

Facing Sculpture is therefore both a visual tribute to sculptural creativity and a thoughtful meditation on how photographic portraiture can reveal the inner life of artists and their art.