Word: sculptoring
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...crest of his primary election campaign, we selected Pop Artist Roy Lichtenstein. He depicted Kennedy as an all-American hero in a comic book motif. When Raquel Welch was the cover subject in 1969, we might have chosen a glamour specialist. Instead, the assignment went to Frank Gallo, a sculptor with a satiric streak. He rendered Raquel lifesize, in a style reminiscent of a 19th century ship's figurehead...
...runs from elaborate silk-screen prints dedicated to Wittgenstein to a giant chrome-plated combat boot; from a stack of bombs to a sprawling collection of clippings, toys, scraps and Mickey Mouse emblems hoarded by the artist over the past 30 years. It has all been assembled by Sculptor Eduardo Paolozzi, 47, an amiable, lowering Scottish-Italian with lobster-claw hands and the build of a robot. The show, a melange of art work and subject matter, represents Paolozzi's two decades of involvement with Masscult...
Rose Kennedy admitted in her husky voice that she had walked right by Sculptor Robert Berks' imposing bust of the late President without noticing it. "I've seen it before and found it very moving, but to be perfectly frank, I didn't look at it tonight." Bernstein's unconventional ways with the Mass upset some people, but not Mother Rose, who has been through too much travail to make stern judgments. "Jack would have loved it," she said. "It's the great expression of hope that is important. In spite of Jack...
Nearly eleven years ago, a 27-year-old sculptor named Mark di Suvero had his first show in New York. His burly constructions of steel pipe, chains and massive timbers had an exhilarating effect on younger New York artists; hosannas rose from critics. "Here," exclaimed Sidney Geist in Arts magazine, "was a body of work so ambitious and intelligent, so raw and clean, so noble and accessible, that it must permanently alter our standards of artistic effort...
Moral Edge. This is the special value of Di Suvero's work. It is also the justification for its immense scale. Steel is a tough substance and, below a certain range of size, a sculptor can make any configuration with it that he wants. The hard task for any constructor is to push the size of the sculpture to the point AP where engineering becomes an issue and the steel might fail-and then to find the one form that works both aesthetically and structurally. Di Suvero proceeds by trial and error, bracing and rigging the parts until they...