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Label TextThis large-scale and dynamic figure is typical of James Surls' approach to material and composition. The roughly painted face is frozen in a scream, evoking the word “primal,” which is often used by the artist to describe his art. Tension and motion are common features of Surls’ sculptures, no matter their specific style, whether figurative or abstract, and this is certainly true of Big Man Going to Arms Race. The title can be read as punning wordplay with its use of “arms,” but paired with the figure’s pained expression can also suggest violence and unrest, the military-industrial complex, and, given the year, the Cold War. The artist describes Big Man Going to Arms Race as a meditation on “going to war and liking it, fighting battles for the wrong reasons that applies equally to the macro level of politics and the micro level of individual psychology.” Surls emphasizes his critique of the relationship between violence and masculinity by endowing the sculpture with a prominent phallus. In a 2020 interview with Sculpture magazine, Surls cites this sculpture as a defining work of his career.

Surls was born and raised in Texas, and the nature and culture of that region have played a large role in his oeuvre. The artist’s father was a carpenter who taught both forestry and woodworking to his son. The artist has called himself a “being of the woods” who strongly connects with trees on a spiritual level. His process involves developing an idea first and then locating a suitable branch or wood scrap to carve, paint, and sometimes combine with other materials in his studio. The final works retain some texture, color, and shape of the original wood – visible in this sculpture in the twisting limbs, rough face, and legs that taper off into oarlike shapes. The contrasting tones of black paint and charred areas with natural wood are also very common in his art.

Exhibition HistoryChuck Dugan/James Surls, Allan Frumkin Gallery, New York, 1985

Seventy-Fifth American Exhibition, Art Institute of Chicago, March 8–April 27, 1986, p. 66

James Surls: The Splendora Years, 1977–1997, Blaffer Gallery, The Art Museum of the University of Houston; Lincoln, DeCordova Museum and Sculpture Park, September 17, 2005–January 7, 2007, pl. 16, pp. 19, 42 (illustrated, p. 42)

Published ReferencesJames Surls: In the Meadows and Beyond, exh. cat., Meadows Museum, Southern Methodist University, Dallas, 2003, fig. 61, pp. 138–139 (illustrated, p. 138)
Kelly Klaasmeyer, "Spirit of Splendora," Houston Press, November 3, 2005, online
Susie Kalil, "It's Personal: A Conversation with James Surls," Sculpture Magazine, June 16, 2020, online

DimensionsOverall: 77 1/2 x 59 1/4 x 23 3/4 in. (196.9 x 150.5 x 60.3 cm)
Accession Number 2026.6
Classificationssculpture
ProvenanceArtist.(Allan Frumkin Gallery, New York); John and Mary Pappajohn, Des Moines [purchased from the previous, 1986]; John and Mary Pappajohn Foundation; Des Moines Art Center [gift from previous, 2026]
Big Man Going To Arms Race
Image Not Available for Big Man Going To Arms Race