Page 45 - Studio International - November 1967

Albert Stadler
Facing page
Land 1967
oil on canvas
106¾ x 47 in.
Poindexter Gallery, New York
Photo :Nathan Rabin

Source 1967
oil on canvas
97½ x 65 in.
Poindexter Gallery, New York
Photo: Nathan Rabin

worked in New York, for the most part I was separate in an austere system that often doesn't suit the form, or
from the painting scene. I knew a painter or two, notably add to the importance of the piece; or else a painting is
Friedel Dzubas, but it was only around 1960 that I began superimposed on the form. There is for me a great deal of
meeting numbers of artists on a more than superficial unexplored potential for colour in sculpture through
level. Paul Feeley was very helpful to me at the time. I variety of technique and finish.
admired him as man and painter. Feeley was focused
upon the essentials of painting. Isn't the effect of colour itself modified by the surface
An artist I was aware of and thought well of— not a on which it is painted, by size, scale, and shape? In
painter—was David Smith. sculpture, traditionally, form has been the primary issue.
In your own work, how are size and scale determined?
Your mentioning Smith reminds me that the differences Generally I choose the area that seems appropriate to
between sculpture and painting are said to be lessening— the colour experience I have in mind. The size must be
even that these differences are being obliterated. Colour sufficient to realize the ambition of the idea. In my work,
seems to be used more and more by sculptors. Will you the shape can always be edited. I am coming around to
comment upon this development ? the idea that I don't want to depend too much upon great
I like the fact that colour is being used by sculptors; yet I scale. I am just as wary about this as I am about 'beauti-
must say that usually it is used in rudimentary fashion, ful' proportions. I think starting out with these things in
with limited understanding of its variousness and struc- mind is limiting. Proportions and scale should be deter-
tural potential. It seems that one of two things happens: mined by the painting; the painting is their appropriate-
either the sculptor uses black and white or the primaries ness. The fundamental problem is to have it all.
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