Page 29 - Studio International - June 1974

(Above and right) Sculpture 1971 (Academy Piece)
Steel,3 ft 4½ in. X 21 X 21 ft.

curved, circular and non-Euclidean. It also hints
at the earlier 'trapped' theme of Rosebud and
Twilight. Its elliptical overhead umbrella is
caught in a space created between a pair of
horizontal flat bars that travel about six and a
half feet from the ground.The gesture
inaugurated by this trapping act could be seen
in earlier works, but in Ascona it plays a
minimal role and its emphasis within the total
structure is reduced. The composition is read as
the essential part both formally and perceptually.
This can be seen as King's self-made
iconoclastic but not irreligious period.

Notes on works in the recent exhibition:
Declaration 19604, looked very good in front of
the pavilions. Regularly placed holes lightened
the appearance of the wall, and with contrast
boosted the solid appearance generated by the
sculpture. It appeared heroic, tough and
resilient and from its central position it acted as
a key to the rest of the sculptures.

Span 1967 was placed in the inner cavity of the
pavilions and under cover, the height to the
ceiling allowed the sculpture to breathe. The
boxed space neither dominated the work nor
cramped it, and both complemented each other.
The dark blue colour of the sculpture anchored
the space, giving it a sensation of gravity without
cutting down the feeling of access and fluidity.
By defining the sculpture's space the three
surrounding walls helped to contain and
strengthen its inner relationships. The ceiling
defined the roof of the sculpture, allowing easy
comparison between themes that incorporated
the horizontal and flat with the broken and
varied. The sculpture's diagonal thrust
countered the vertical and horizontal extensions.
Red Between 1971 was placed between four Open (Red-Blue) Bound 1974
Reel I 1968. Its colour worked well against the Steel mesh and steel plate
trees, which acted as a corner post to frame the
darker green-blue grass. Its forms lightly 7 x 13 X 12 ft.
sculpture. It was very successful in this outdoor
touched the lawn.
position. A richness created in shadow gave the Sculpture 1971 (Academy Piece). The change
Ascona 1972 marked the entrance to the space plum coloured dark forms a further degree of since the Academy show has been a lightening
surrounding the pavilion, its silver brilliance in mystery. The vertical lines of each tree in appearance. The vertical plates have been
contrast with the few muted and pastel colours contrasted with the complex, horizontal and extended to make it higher from the ground and
that play down the importance of the horizontal inverted spread of the sculpture. Its upright the centre square has been replaced with a grid
spread suggested by the form and proportions of ends, stopping mainly above eye level, generated container supported clear from the earth. Now,
the Rietveld structure. an upside-down feeling. with its open centre, it has a relation with the

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