Word: harootian
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Dates: during 1940-1949
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...tortuous steel Cello Player (the work of a onetime war-plant welder), visitors could turn to such literary hardware as Mitzi Solomon's aluminum Family of Man Totem. Among the best of the relatively representational items were Alfeo Faggi's leggy, high-breasted Eva, Koren Der Harootian's Slave, Burr Miller's classic marble nude La Victoire, and William Steig's tiny, self-effacing Elderly...
...hits of the Whitney's show, as of any show, were the works in which form and content were so skillfully united as to be indistinguishable. Burr Miller's sleeping alabaster nude entitled Subconscious and Koren Der Harootian's swooping Sea Bird and Fish were two such sculptures...
...Harootian's Sea Bird also owed much to the stone it came from-a 4-ft.-high slab of onyx. Pocked with chisel marks, it successfully simulated the feathery plunge of the bird; polished, it represented the wet scales of the fish. Der Harootian had deliberately exaggerated the size of the fish and taken vast liberties with the shape of the bird. The fact that they seemed far less abstract than they were in actuality was a measure of the sculptor's power to create illusion without slavish copying...
Armenian-born (in 1909), solemn little Der Harootian has carved 60 pieces since he switched from painting to sculpture nine years ago. He gets ideas for sculpture "from nature, from experiences, and from the Bible." While he never expects to get rich at it, Der Harootian considers sculpture "a beautiful profession. I wouldn't change it for anything in the world...
...Says Dr. Harootian: "The results are so striking as almost to eliminate coincidence as an explanation...