Word: sculptors
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Dates: during 1950-1959
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WHEN Florentine Sculptor Benvenuto Cellini sought to perfect the rediscovered art of bronze casting in the 16th century, he kept the furnace roaring for days and finally set the roof on fire. Now when a fire breaks out in a sculptor's studio, it is more likely to be caused by an unwatched oxyacetylene torch. The material may still be bronze, but there is an added glitter of stainless steel, phosphor or chrome. The great difference is that Cellini produced in bronze a famous Perseus; today's sculptors too often end up with a glittering space divider...
Prophet ($16,000), a 7½ft. figure of Monel metal covered with nickel-silver by Dentist-turned-Sculptor Seymour Lipton, is both warning and challenge. "I was thinking of Isaiah," Lipton explains. "The work suggests a strident person, a gesture of stepping forward. But the work is also a challenge to the observer to become involved in a whole new language of form belonging to the present age." The U.S.'s new sculpture has indeed developed a provocative new vocabulary if not a language of form. But a vocabulary is not a work...
...drawn to Rome because it is cheaper to live there. Their down-to-earth approach is reflected in their art: painting includes recognizable images, sculpture often mirrors the human form, prose and poetry tend to be lucid, coherent and direct. Few have qualms about accepting commercial commissions. Cracked one sculptor: "For a thousand dollars I'll do a head of grandma -guaranteed to look just like grandma!" Wives for Models. Typical of Rome's new expatriates is Detroit-born Zubel Kachadoorian, 35, who formerly worked part time as a construction worker, while his artist wife, Irma Cavat, padded...
...Bathers, to make matters especially difficult and particularly intriguing, is a product of contradictions. It is technically a sculpture--there seems to be no way of getting around that--but it is a sculpture which answers more to the laws of painting than to those of the sculptor. It might almost be described as a three dimensional drawing. Seen as a series of individual figures, the work loses its meaning. But, together, as an antiphone of forms which are largely linear, the work moves, functions, comes alive with a remarkably electric vitality...
EDITING: "What you leave out is always much more important than what you leave in. A sculptor achieves a work of art by what he chips out of the marble; if he left the marble merely as he found it, what would he accomplish...