Word: ferber
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Patients who go to Dr. Herbert Ferber Silvers, D.D.S., graduate of Columbia University's School of Dental and Oral Surgery, are usually unaware that he is also a noted sculptor; and those who follow the work of Sculptor Herbert Ferber, 56, have probably never heard of Dr. Silvers. Yet this double career has been going on for more than 30 years, ever since an ambitious young man took up dentistry at Columbia and at the same time began studying at the Beaux Arts Institute of Design at night...
Last week, after a year-long tour about the country, a retrospective of his work landed in Manhattan's Whitney Museum of American Art, while at the same time a smaller exhibition opened at the Andre Emmerich Gallery. Ferber's iron sculptures are not always comfortable to look at: they often bare aggressive fangs, as if defying the viewer to come close, let alone to touch them. At times, their restlessness seems rather fretful; but at their best, they are full of hurtling vigor...
Bony Wrestlers. Ferber started out as a carver, and the earliest work in the show is a conventional female torso from 1932 -a small but ballooning mass that simply stood in space without having any particular relationship to it. In 1934. Ferber began a series of wrestlers into which space entered quite naturally between the parts of the two struggling bodies. Gradually space became more and more important in his work; he whittled down his figures until flesh became bone and bone in time became purely abstract forms. The wrestling went on, but the combatants were no longer human...
Unlike many of his colleagues. Ferber does not worry about being "true to the material." His only goal is to reproduce the forms whirling in his head, and when stone and wood were no longer flexible enough, he switched to welded metal. Though his sculpture often seems to have an organic life of its own, it is not inspired by nature, and he believes that no association should interfere with the tense interplay between mass and void. "In open sculpture," says Ferber. "the space and the forms are equally important. The eye travels around and inside them. There...
Victim of the same sympathetic fallacy is Empire (NBC), the story of a great King, as in Texas' huge King ranch. Since it is a kidnaped stepson of Giant, it might have been written by somebody called Billie Sol Ferber, who proves that the West ain't what it was. One ranch hand punches another, and the punched man looks up and says feelingly: "I'm sorry for all your suffering...