Page 24 - Studio International - October 1966

Phillip King art where there is no dogma and where new standards directed and reinvigorated the sculptural axis, the work
Slit1966 are in formation. is mostly to be read in time. It forms, in effect, a sequence
Arborite
78 X 126 X 69in. What are these emerging standards or-to put it of events that develops into the whole form. The sculp­
another way-what are some of the intellectual and ture expands into its space. A closeness to the process
practical concerns that are redefining the sculptural art becomes important. Caro has said:
in Britain? Outside when you can get back to look at them from a
First, perhaps, is the vexed question of the relationship distance the grip of the sculpture is diffused.
of the spectator to the sculpture. The conception of Turnbull has evolved an opposite view-opposite, that
sculpture as a heroic expression has been pretty generally is, in intent- for, again, the form organizes experience
abandoned by these younger artists; the sense of it as an and is its veritable equivalent. He writes:
object related to landscape or part of landscape is also I would like my work to be perceived instantly, without
denied. Sculpture has become intimate and indoor (how radical change as one moves around it. This destroys the
much so was seen in the recent outdoor sculpture exhibi­ involvement with time (which is a formal 'slice oflife').
tion in Battersea Park). It is not to be made for a particu­ The centrality of the piece, its separateness as a focus of
lar place, however, but projected as autonomous. experience, has become an important consideration for
How, then, is it to be seen? For Caro, who has re- Tucker. He writes:
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