Page 60 - Studio International - June 1967

LOS ANGELES

commentary by Fidel A. Danieli

American Sculpture of the
Sixties at Los Angeles County
Museum

If recent pictorial developments have appeared
diverse, radical, and variegated, as reviewed in the
Los Angeles County Museum's 'American Sculp-
ture of the Sixties' a parallel situation has pro-
liferated in the dimensional arts. Under Maurice
Tuchman's direction one hundred and sixty-six
works by eighty sculptors have been assembled.
Though derived from-or a reaction to-pictorial
considerations, sculptors have emerged on both
sides of the continent whose work is unique,
vigorous, and adventurous. Linked ultimately and
intimately with art of the last fifty years, one may
trace in it particularized and individual extensions
of post-Cubist geometry, Dada and Surrealism.
Painterly and Pop techniques and imagery.
Rather than simply a translation into volume, a
dimensional review of painting, other character-
istics make it clear that an essential of contem-
porary sculpture is its serious confrontation with
the most primary definitive descriptions of the
constituent features determining form. For every
major figure denying one quality there can be
found as positive and intriguing a reassertion by
another. For instance, whereas Flavin or Snelson
are involved with linear tensions and distortions
which question the necessity of volumetric mass,
Judd and Morris counter with basic geometry re-
stating the occupation of space by solids. Perhaps
only the vaguest sensation of three-dimensionality
and multi-point viewing remain sculptural require-
ments.
A prime condition is the emphasis placed on con-
struction, fabrication, or assembly in the additive
method and to a lesser degree manipulation of
plastic materials. Few major or, particularly,
younger sculptors are concerned with subtracting
or releasing forms from a solid, inert block. Only
older figures such as Nakian and Noguchi (and ex-
ceptions such as Trova and Voulkos) cast in bronze.
These energy and time consuming methods have sketches. As forming and juxtaposing are essentials, Above
been fully replaced by the welding and bolting of the use of clay and wood is still prevalent, more so Top Robert Grosvenor Still no title 1966
steel and aluminium, the manipulation of plastic in California, for the freedom with which they fibreglass, steel, plywood 13 x 8 x 24 ft
and fibreglass, and the exploitation of startling may be handled. Bottom Robert Howard Landscape XX 1965-6
and atypical materials. The utilization of industrial Surfaces are usually treated to a high degree of
painted steel 6 ft 8 in. high x 13 ft long
methods has replaced modelling and chiseling and finish or polish, texture no longer emphasized as a
has permitted all contemporary sculptors to achieve tactile experience but rather as an optical one. A Facing page
unusual effects. Those of a basic or geometric per- prime ingredient has been the exploration and Left Robert Hudson Charm 1964
suasion can compete with the process of the exploitation of colour, each individual utilizing at metal polychrome 45½ in. high
traditional foundry editions by turning over for least a neutral arbitrary tone. More likely the Right Tony Smith Cigarette 1966
mechanical execution or production the barest of works are indulgently glazed, pigmented, sprayed, wood mock-up to be made in steel 15 x 26 x 18 ft
320