Word: suvero
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...Suvero Scorned...
Without doubt, the show of Mark di Suvero's sculpture in (and out of) Manhattan's Whitney Museum is one of the biggest enterprises ever to involve a living artist. The works−65 in all, ranging from tabletops to steel monsters five stories high−are distributed in parks and public places all over New York City's five boroughs. For weeks, cranes were busy from Yankee Stadium to Central Park's Conservatory Garden, hoisting the ponderous components into place. The catalogue lists more than 90 administrators, engineers, city officials, industrialists and artists who pooled...
...Suvero came to New York from California in 1957 and settled in a rambling market building in Lower Manhattan. From its steep roof, a panoply of bridges, rigging and wharves unfolds. This is his sculptural landscape−as the marble quarries of Serravezza are Henry Moore's. The Manhattan docks have furnished both the material and the imagery for his work: the gray, salt-pickled balks of timber; their ponderous iron bolts, cleats and straps; the explicit logic of big practical structure. Pieces like Hankchampion (1960) are inseparable from that context. Its salvaged wooden beams, bolted together and strung...
...energy; what counts is the vigor of the form, the expansive thrust of its members driving into space. But this syntax of angles, which makes his best sculptures change so compellingly and unpredictably when one walks around them, had to wait. It would be five years before Di Suvero could work regularly on this scale again. In March 1960 he was nearly killed in an elevator accident. His back and left leg were broken, and the doctors said that he would never walk, let alone work, again. Di Suvero spent a year in a hospital, another in a wheelchair...
...result must be among the most imposing "homemade" sculpture produced by a young American since the early '60s, when Di Suvero was making his big constructions of railway ties, dock piles, chains and tires. Instead of effacing their weight, Buchman's sculptures proclaim it: heaviness, the state of being dug from and bound to the earth, is part of their meaning. The stone is not carved. The lumps stand as they came from the rock pile, craggy and rhino-gray: one thinks of them as things, not as material, and each sculpture becomes a kind of frozen juggling...