Scribd Logo
Upload

Welcome to Scribd!

  • Lucy Lippard, "Sculpture As Escape"

    Uploaded by

    Becky Bivens
    197 views12 pages
    Lucy Lippard, "Sculpture as Escape"

    Original Title

    Lucy Lippard, "Sculpture as Escape"

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document
    Lucy Lippard, "Sculpture as Escape"

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    Download as pdf
    197 views12 pages

    Lucy Lippard, "Sculpture As Escape"

    Uploaded by

    Becky Bivens
    Lucy Lippard, "Sculpture as Escape"

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    Download as pdf
    of 12
    ART INTERNATIONAL Volume X/2 Tenth Year of Publication February 20, 1965 SIMMONS, PUBLISHER AND EDITOR: JAMES FIT Editorial and Subseripti Advisory Editon: Via Maraini 17-A Lawrence Alloway agano, Switzerli Umbro Apollon Jorge Romero Brest Gerald Oster ARTICLES. GEORGES VANTONC STAMER a LASSITZKY, ROMAN AUC DU FUTUR, FRANGOIS PLUCHAR is INGE, DEUTSCHE MALER NACIL FOR, MANFRED Dk LA MOTTE » HK HEGELIAN ROMANTIC NEGATION IN MODERN PLASHIG AKT, JOOST BALJEU x MARC THE NEW ABSTRACTION: A DISCUSSION CONDUCTED BY BRUCE GLASER a MONTHLY CHRONICLES. LETTRE DE MONTREAL, PERNANDE SAINTEMARTIN NEW YORK 1 RECENT SCULPTURK AS ESCAPE, LUCY LIPPARD, : ” NEW YORK LEVTER, ANNETTE MICHELSON, Sn NEW YORK LETTER, JAMES R. MELLOW a NEW YORK LETTER, MICHABL BENEDIKT 6 LETTRE DE PARIS, GERALD GASSIOT-TALABOL o LETTRE, DE PARIS, OFTO TALIN B ART IN "THE SAN FRANCISCO WAY AREA, FRED MARTIN % LETTRE DE SUISSE, JEAN-LUC DAVAL e CAULFIELD, courtey of the Robert Friser Gallery, Landon, (Patrick Caullield's paintings wil the shown in March atthe Robeet Elkon Gallery, New York,) VANTONGERLOO, 29-31; LISSITZKY, 32-33; POST. POP GERMAN PAINTING, 3436; GABO, MALEVIGH, KLEIN, 37-39; MANZU, 40; NEW YORK EXHIBITIONS, 58-86, 69; SCHOEEFER andl TINGUELY, 70-71; PARIS EXHIBITIONS, 72, 77; SAN FRANCISCO EXHIBITIONS, HENRI PRESSE, 1, Mei, So Brana, on Copa Jeni Dal, il Dre, Gerald Gani-Talabot, rte Ge Hahn, Andrew Huon, Jules Lanner, Lacy Rs ippank, Norir Lynton, Gisepp arc hor Ginga de Marc, Nancy Marmer, Fred Marti, Janes Melia, Manfred dein Mote, Femande Sunt-Martn, Bal Somer, Margit Saber ae ASSISTANT TO PUBLISHER Vera Haller HPTIONS: A one-year eubcrpton (10 numbers) cot $15.00 o 63 Swi rane; athee-year subscription cons $96.0, 0 19 Swi ‘iran subweriptions to the Unive Stats add $1200 postage per annurn.Lattine vase be aban ying tothe addres above (or through bkatore td agrine agencies in all cheque or ney order: SINGLE COPIES: $1.50 / Swit fr. 645 [French 7.50 DISLRINU'TION: News stand dsribation in the United States of America by Eastern News Distributors, Inc, 155 Wet 15, New York 10011, Disibation in Telia by Globe Puan, C-38 Nisamuddin Fast, New Delhi 13 ADVERTISING: Should be received by the 10h of the month preceding publication. In Fs Marcel Ullmo, 70, Boulevard Finan, Pris-68; Marcelle Brine 10, rue Saser-Leroy, Jy, Paris? tn Hngand our advertising representative iJ. Arthur Cok, 9 Lloyd Square, Lonion W OWNIRSIIID: ART INTERNATIONAL i owned ete and pbsed by James Fiaimmon at Via Maria 1A, Lago, Slo aml he arc orton AT IICTHINATIONAL wil ender roms eee roel for sii! man hsp ame fr pba are yh an wd The er es Seether dna ert of Pt on Plier ‘Prine by Buchdruckerei Berihihavs, Zavingliplas 3, Zurich, Switerland Seon las tage pid at Zarih nd New Tork, NP, de leur contour stimule nécessairement Minterprétatios tactile de Tobjet pergu. Et dans toute perception & mot ‘ation tactile, les elements qui semblent ire des taches, Seront perout en relic La plupart de ces tableaux ¢'Hurtubise créent un certain. malaise physique, sem biableen cela & de nombreux tableaux «ap » en ce quils solliciten simultanément dea mécanismes de perception qui sont éxrangers'un a Pautre. Le spertateur vot rane Fart ratte swing trey ue i tbe et Sbjct, alors que sur un plan wptien-vsieh, ne pent les ontiver ami, tendant leur donner fa fonction, de plan. Bien queer taches went pointes en aplat, cles sont en definitive phériques. Crt effet de tompeet el Accentue finalement Ia conclusion que, pour autant qu Ute des schemas plastiquesconnus, dt es resonances tent dj sq Hurt ryan dan we cra mesure le «pop aft», car ses veesprésupponent as tne imager, une fiction picturale objective préalable Jean le Fébwre hry a ft a NEW YORK LETTER: RECENT SCULPTURE AS ESCAPE LUCY R. LIPPARD “The individualism and inventivenes that marked the three best pieces inthe Sculpture From All Drechons® ahibition at World House Galleries turned out to be Fare qualtes. These picees by Doyie, lagen and Judd Feslatize hacer ie of aimplied mete Fy that plagues sculpture just it does painting thee djs But the ment ‘there gem he more vanced sculpture than painting Seulprue has provi sn escape for thor who fee! the hinkatbne of paige are on great to be avercnme, who share: Dom Jude thin wre th pasting ic that it fa rectangular plane’ placed dat against the wall"! Shaped and three-dimentional canvases have a. Uacied surprisingly few; the current preoccupations wt stone form, with edge and sscrivenen, wth ingle clor and, above all, with “advancing” nto new areas have led incitaby toa rejection of patting which somehow, more Ughtly bound to tadivon thay sculp Sie Tetons impo male om ptr nting without the addition of objects or shape or the Sma reton to a monocot the ace turns and other groupe have succeeded in suggesting 9 ronsculptural sculpture. The fact that a large number af those eurrenily making sculpture were paltry unt fecently has undermined sculptural tradion, From the ‘Sfectangular plane flat against the wall” tthe ar tectoniestructure or the planar sculprre ifs of leap than the move from open, welded sculpture typical Ot the 5 nthe event tonave were yma Rip forinstance, who was on the verge ofa “structural” sic 4 1960, only arrived at his present arehitectural Domes ia five years of smal, conventional bronzes. ‘The World Howe show was a motley one, and would have gained from stronger orgatization, Since it con- centrated on new work, the few progenitors should have 48 SS oudraiet un esa de symthise entre de mui nee Su rererce se carat apd Danio dimen tacktes de forme Pat FRc Aina dana Colombim, Le lle oo paste a {aches noires projetées tentent de faire rayne gree lanes encore il entoute le cece deb Sealers grber quem ascenturat Ie cae imétrique. Disutre part, i ute dee plana 0 Sétinnent pas comin tl, mais qui integren fonds atmotphériqurs Aun espace ambien nt Teas conouts ete accents enarsct ie faures ablesurempruntetaushardeig Sg? Pans Seen nba pete a J, Mai contrarement& ra nye eet eles come es pl tmigors de créer un pace ql pestle Soe trabment spprae b cet de sx bres ore am trie, te Pere ative. en elemento Fe vole ane une recherche qui, d'une certaine manitee's dan un de ol eatin, Mat ot ren atin her i ec dont les précrcupations étaient prévisement cela eee been left out entirely, Asi was, Calder and Rickey were Fncluded “Le should have completed the thon eats but no other Kinetic artists were thereto hen Conidring the numberof contingency ‘misions among the younger sculptors were comp, tous: notably Mors, Andre, Havin, Chamberlain Schlegll) Tutte, de Maria, Arochwager and fans: erable Californians and Exglshmen, I Genes no tere to be represented Hest, Sinithson, Stciser sel Wilson were certainly tip to this levels recent work by Sugarman, Key, Kipp, Leon Polk Smith Feeley, os, Westermana, Liberman, Bontecou, Gray, Howard, Pe dovano, Steer, Amano, Samaras, Rsana, Rab fand “others could have replaced certain incimbens, While seleeion i to some extent a matter of tae th one seemed so random that no personal choice ne the sc Sntenton wae exden: Neverthe ist show to even attempt coverage ofthe must Care 4 PEA coverage Most of the livelier work was colored, As George Sgzarman hat sid “olor sone of the bac pase clements and the sculptor has done without it for too Jong.”* David Smith, 2 major influence in polychromed seulpture, noted that his work actually “grey fom paint= ng”, and currently the escaping painters have brought with them a different approach to the problem of clared sculpture. Yet the use of polychromy in this shove was potably lacking in invention, dhe majority, fear of being tasteful, having turned to white black, gr8s, OF ihe primariy in a boring demonstration of sameness. Doyles purple and green PESKe, whch sets Sey Coke Heal tt ery Cnc Tinga ie cet macau ah echt cst Ene sie "SUR gren curse pase eek parle ion tee ie EE trace. I's unobrasvely superte by two dus rece artes rear fre Ce = scar eevee ‘ows and dense; despite the nearindussalfinsh ofthe ; eee bent marie ane semen, environmental” in Sara hie nd ome es bt ae cra nor contsnaly conspicuous Senet edemted work fo is unahame 5 nan conunation ofthe "he SEER eigen cei ae eat fat year 2 sal German town Ses eye peat crn nt wee a ody eenee of New York promare He has stare time when a valid romante strain spo ema few younger super andthe renga Pixipie areal he more refreshing. He has always been eran hi baling sl erred hg af hs ex-paintr colleagues a factor that Epes in this cxhiion where even some ofthe sim seta are shoranably carpented, Doyiet Pa ticking to his gue (ie that of Weinnb and Bee enh poory fpreented here) shuld. be a cee ip tke soccedecang cxpmnet mptot Stee up esis but mt Sched See new clay Spo ee iachorstaet steht Nae ig, or a late polychromed piece, which would have eta Utne fren mal of lege ton of he hy, Papeete er) Perret eon ae hh cold eras fom wee Se ae Ae cai ete ee tess atone ween wat rho se th ee sims oro of he Hapa i, Wa famed pe fay, ak ood eae at er Fa ee ee cet oh eee in me aoe ee Ee So gue ee en Fe a en oe era in cans te or ek hare dt el a ee we ere: lke pen a oo fee ante hee Same gt cong no 8 Ge ae Ei ‘Landing will be missed by the younger generation in a ig ol med fe me ae otek {FOP dt Spare he cre gr ee ora ocr gh pp ate eta See ee Kanal ep a No nae ay bees pera em a al ima hak ene pied planer eg a rep htt Mca mame lee Sie Sehny Gis Sein hm alas mae Caro may be an offpring of Smith, but he is himself the patriarch of quite a brood in England. While he is ‘obviously one of the better sculptors working now, T don't understand the extent of the enthusiasm he has evoke here, nor Clement Greenberg's statement that “the only nev sculptor whose sustained quality can ‘ear compan wh Shs Some of is work set tome to. her eight adber bowed unde te woke st Smits energy and quailty, Sumine—a pastel orange tnd dled reper fee wth long, ow Borzoi feach—has an angularly folded planar’ element at eft that connects only Mesa ‘the strong cross ‘and another heavier bar sct at a tense (but not Drecarious), oblique angle at the right. Ie is a lesser in- ‘Hance of Caro's main contribution to recent sculpture — his exploitation ofa ‘low center of gravity” in terms of a sprawling space something like that of DiSuvero or ‘Wannb, but more dbeiplind and formalist in character. ‘The mest unexpected clement in Car's work is the ‘achieved weightiesnes?™ with which he contradicts the weight cliché of his engineering material and frm which the younger English sculptors seem to have de- parted. If de result at mes is substantial instead Pit veightlesines, it ts becatse. Caro i adventurous hous to move on. Lwish T had scen the work from ¥9¢1S62 shown in Landon at Whitechapel in 1963, such 2 Sealpre Seca, in which at almost random accion and trongly separated forms lok more chal= Fenging than what hem doing nov. Irwin Fleminger, who showed remarkably simple, roughhewn wood sculptures in 1956 (at the Peter per Gallery) and returned to a direct style via Mother- Re, Cornell, and largesaleformica boxes, also owes a to Smith, especialy to the Cubs, a the three ved pet Now Tose and Gratin, raeremploy the stepped scheme with emphasis on ‘hal fgic and strong, silioatt, bt there enough Naulptural experience and integrity bchind to make his ork stand above the run-ot-thesmil use ofthe mod. In neal highly potshed ieee the steps are slanted Gowns so that eadh overhanging projection fs reflected Seg vate back into the core ofthe sealptre as wel 3s Sut into space. (An unfortunate black base marred its Seat ona.) X varia on the sume thane had 3 Slightly burnished surfaces the image was a x SE eed mea luckier itgof the polshed, and can detract fom the formal Illy; Healy, thee sculptures would be cas in stainless Mee matcral too expensive for most artist to work ‘with in large sale. The piece I liked best was hori- ontally standing rectangle that breaks out into two tre points at the upper right and lower left (or two. dinate connected by's parallelogram). The clearcut Sd Sonumental shape is complicated by the fact that FTean be looked at two ways; and the more its looked 2 the more irtating, na positive sense such a double ‘iewpoint in such an unequivocal vehicle becomes. sooter sent ofthe Suithinpred walpton ha a es re a haa Ca esa cee ee ee Pat Coe Oe bece Nee ca st FE OA ean eld at i Nan ot a eee ne a See ee ate ae pence a de eS cae fog in sing Tre alecd one whi seam ses pe eer ital pup He bar eee

    You might also like