By Bev Mazze

Medallic Art is bas relief sculpture small enough to hold in the palm of your hand. Fine medallic sculpture, like any other work of fine art, is an expression of how the artist sees and feels about a subject.

The multisided nature of medallic sculpture provides the artist and the viewer with a unique way of exploring a subject in depth.

With sculpture in the round, surfaces continuously flow into one another. The surfaces of a work of medallic sculpture, however are connected by both the creative expression of the artist and the physical act of the viewer in turning the piece over.

Because medallic sculptures are small, easily held in the hand and explored by touch, they tend to be very personal works of art. Because they are very affordable, collectors are able to add the art works of eminent sculptors to their collections. And collecting limited-edition art medals is the only way of assembling a large body of sculpture that can be displayed in a small amount of space.

Mad Cow Desease (1998) by Sylvia Perle

Fish Tree Hand Tree by Nicola Moss

The Other Century 1900-2000 (1998)
by Antonio Viana

Exhibit shows medallic art power

By Alex Shagin

Until Jan. 30. 2002, Colorado Springs, Colorado, the medallic art capital of the nation had more than 175 medallic sculptures created by world-renowned artists on public display at the American Numismatic Association's money Museum. This exhibition was the result of the American Medallic Sculpture Association and the Museum of Medallic Art in Wroclaw, Poland, working together to bring this important selection to America.
With all the media attention and the generosity of the ANA serving as a host to the landmark cultural event, we still need yet another effort of the collector community to get more closely involved with the fascinating form of creative imagination. Indeed, after almost two decades of soul-searching, our medallists are making their presence felt more strongly than ever.
Perhaps it is so because of the bold decision of the new, dynamic leadership of AMSA to invite a beautiful contribution of works from the collection of the Museum of Medallic Art, or maybe its success is in the world-class presentation arrangements by the ANA Money Museum, which provided the level of comfort in viewing and enjoying these diverse and innovative masterpieces of metal craft.
Meaningfully titled "Hands across the Sea" the show serves as a timely transition of AMSA from experiments in free floating to the much needed closer ties with an established and influential institution, such as ANA, that will offer new possibilities and wider exposure for the art of the medal, which is essential these days when poorly designed medals and coins are rather standard than an exception.

It sounds alarmingly sad, especially now when the events of profound historic significance require a higher quality commemoratives that will undoubtedly be used as an important evidence for the future scholars searching the history of our civilization.
Isn't it about time to recognize the benefits of letting our best talents be seen on the national coinage?
Whenever there is a bill seeking new commemoratives, there should be a roll call for the members of AMSA that could be very instrumental in the efforts of the political powers to express the feelings and concerns of the people. Tens of thousands of collectors led by the ANA can send their strong message to Congress in support of better looking coins designed by professional artists inspired to share their talents with the masses. It sounds like a win-win situation.
If we don't create new and powerful symbols of the present era on the level of the "Indian Head, Buffalo" nickel (by James Earle Fraser) and leave them to become the legacy of the future generations, what will the next century's minters have to copy and the collectors to enjoy?
Medallic art is capable of delivering strong and universal messages in a compact and indestructible form and this show in Colorado Springs has provided us with a unique opportunity to impact our future.