Word: sculptor
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...sheer pervasiveness of his work is not in doubt. When he died last week at the age of 88 in the farmhouse where he had lived and worked for more than 40 years, near the English village of Much Hadham, Henry Moore, C.H., O.M., was the best-known sculptor in the world...
...other sculptor's imagination was more manifestly connected to his past, even to his infancy, than Moore's. Like D.H. Lawrence, he came from a mining village; his father had labored in the pit and risen to become an engineer. His mother bore eight children, and one does not need to be an exegete to realize that it is to her that his work insistently refers -- those broad- backed, maternal figures, like sentinels, their bodies expanded into bosses and swells that suggest an infant's apprehension of the breast, or hollowed into womblike cavities. The fundamental experience of work that...
...Yale biologist, Ross G. Harrison, unveiled his concept of a "sculptor" and "master builder" within each living cell. The sculptor, The Times said, "molds the aboriginal clay of life into his own image," while the master builder "organizes the stuff of life into its various tissues and organs...
...asked a Parisian or a New Yorker in 1886 what sculpture was, the answer (after a short blank stare) would have been: statues. Statuary, to borrow the mordant phrase of Claes Oldenburg many decades later, was "bulls and greeks and lots of nekkid broads." The sculptor of that day was responsible -- as in the age of film, TV and other ways of mass-circulating the visual icon he is not -- for commemorating the dead, illustrating religious myth or dogma and expressing social ideals. The aim and meaning of the work were rarely in doubt. With statues, good or bad, from...
Marble, wood and bronze remained fundamental materials, but they were used in unorthodox ways; and in addition, a sculptor could use any kind of junk, from cardboard, tin and pine boards (the stuff of Picasso's and Laurens's cubist constructions) to the wire and celluloid favored by constructivists, the steel plates and boiler ends forged by Smith, and so on down to rocks, twigs, burlap, twine or even the artist's own dung, which, canned and labeled by the Italian Piero Manzoni in 1961, provided a nastily prophetic comment on fetishism in late modern art. On its road away...