Before lending my unusually opinionated take I was curious to research him a bit..I found it evident from glimpsing his physical presence as well as listening to his curatorial explanations of others that here is an especially sophisticated fellow.. But for me: Cleverness is not enough, I demand Soul..I demand presence of the hand..A presence of wonderment. I can understand how some folks would find this unruly exhibit amusing .. But to me Just the ongoing trend Of being acceptant of Vacous art considered normal

Thank you Garth, Jock and Lydia plus Rachael, for another terrific Sculpture Forum which began the Shechet discussion so perfectly with Lydia's Coco Chanel accessory.

I plan to visit the show, but haven't yet. I found it cartoonish in a facile and slick way, in a rush to produce., and insensitive. so, my take is congruent with the postmodern interpretations. I object to the nihilism of postmodernism. it's too easy.

Gorgeous drawing behind Jock! I found Schutte's sculptures too grotesque, viscerally upsetting, and downright cheesy (the wooden watermelons are a pleasing exception). If he'd stayed away from the human figure, I probably would have enjoyed them.

Rudimentary is a good word... he does have lots of work not shown here.. the conceptualist stuff doesn't do much for me. The use of materials comes to the front and is forceful.... the large figures seem like Gods. As fas as the watermelon slices... they don't fit in. But they are accessible. Yeah, overall, there are lots of human forms, but what's missing is a BASIC humanity, we all look for in the figurative. Guess he's got the money to cast small mockups into giant expensive works. Good job. Thanks.

Hardly any of these moved me to be honest. Obviously a lot of effort and craftsmanship involved. I am not a post-modernist as carolbruns612 defines it below. More direct figurative references would have helped IMHO. Also agree too busy.

I liked your commentary, and understand that it's difficult to be truthfully critical, but yet you were. I especially related to the comments that utilized the "postmodern" to describe this work, the postmodern taking a stance that nothing is worth deeply engaging with, and one's role is reduced to playing games with styles and materials. It's a fundamental disengagement from content, cool and detached, accepting the weight of mass culture as hopeless to resist.

Thank you Garth and team for another Sculpture Forum. I felt more engaged with the smaller, textured and monochromatic works indoors than the larger ones outside. However, the large outdoor yellow/orange sculpture was well executed I felt - it was visually stimulating from every angle as you walked around it. Btw I hadn't come across Lydia's work until today - the small paper pieces are delightful (and from a fellow mathematician)!

As a sculpture of large metal and glass outdoor pieces, I have to admire the metalwork that went into a lot of these pieces. I have to agree with you ( which I don't very often). They might have more artistic impact is they were simpler. They almost seemed to transition into the realm of junk sculptures. Those types made of old car body parts. On the other hand there is a sort of 'in your face' freedom here, like lets just weld all this shit together and see what we get, which is kind of cool.

A chaos theory headache.

In an age of obsure modernism. These sculptures take on a new revelance.

voulkos is spelled VOULKOS with an O not an "a"

I don’t get it looks like a turd

Really good to see work that shows true mastery of the form. The glazes are excellent, as is the placement on the surfaces. Wall artists will never know the subtlety and understanding it takes to do glaze work like this.

The light and shadows coning through the windows combined with the large pots to produce a timeless feel.Great exhibition

Absurdity= nihilism, in Hesse sculpture

Fantastic show . Primo Piano is iconic. Good attempts to get at source and meanings of the work. Thank you.

“Ingres” comes in my mind when I look at the sculptures. Great

Maybe the first time I have seen art that is clearly ahead of its time ( the coloured giant ones, not so much the silver box ones). In 10 to 20 years time these will be considered as important as the work of Marcel Duchamp. He's already one of the great 20th century artists, but these push him way into the 21st too.

Serious student work. I lost track of him after his tall bronze waterfalls. I'd like to see a show spaning 60 - 50 years.

Stella has been a process sculptor from the begining of his career. His work is heartless. Void of a psychological center. Travel to any western city and you'll find in lobbies of corporate buildings some odd ball Stella collecting dust. Wilkin tries to make much ado out nothing much as she recites the same old same old taught in art schools for 50 years ago . The sculptors are honest in their emotional reponses to these thing-a-ma- jigs. opinions are . American modernism hit the wall decades ago.

In an interview with cindy nemser, hesse said that her art was about her inner soul, and rejected an intellectual approach such as minimalism.

uninspiring!

Hesse was a genius, but genius is sometimes not understood. Her are it so contemporary. She was way ahead of her time.

Sorrybut her sculptures may have been different, material based... however.....in fact where is the sculpture? Most flat, one dimension , most on floor or wall. More like painting... except for the repetitive vessels... this seems more like an art marketing triumph, if not conspiracy. Moved? Really? How can one be moved. Absurdity doth not maketh it art 😅 Yes sad, she died young....

i was so happy to find a long in-depth talk about Sculptures and Art in general, but find this more akin to a group gossiping about someone who they don't like, than any real insightful discussion,

Parts of the first passageway through to Melvin Way’s codex, as one travels through to the other side of the mirror.

what is the best clay for this size non fired? I am so interested. Thank you!

A truly creative, experimental artist.

Personally I LOVE Stella's work (R.I.P )... however one important aspect of sculpture is how it rests on the ground plane or vertical wall etc. Its sense of gravity, weight, balance giving sculpture a feeling of equal and adjacent visual context to a viewer. But these particular pieces have metal stands and racks that truly have nothing to do with the sculptures, (conceptually or with artistic merit)... they are merely holding up the work like a mechanic does with a car, or clothes in a clothing store... Other than that the materials and colors and compositions are great 😊

It may be that what is lacking, as the conversation illustrates a sense of an essential something missing in the work; is the disconnect of the artist from the media. When harking back to David Smith & Giacometti, those artists worked directly with the media. Stella is reacting to the media, yet not working it himself. This body of work is produced using cast-offs from industrially cut stainless steel that is then assembled and welded by a team, or 3D computer modeling that is then industrially produced. The sense of this work as Product is inherent to the process of production, and perhaps this obtuse line back to the artist is part of what Stella found appealing in the final forms.

I've just listened to this . I dare not venture a comment of my own , except to say that I found th majority of th opinions expressed in this video to be rite apt . I like that th commentators made room for ambivalence , their respective feelings of disenchantment w th work tempered in shades of grey !

Hunt's work was a significant inspiration for my later work. Interesting that Sculpture Forum 62 followed the episode on Smith. I appreciate Brent J's comments regarding the space and volume in Hunts work. Garth E's comments "Generosity,Unpredictable, Inventive and Joyful" are all perfectly appropriate. Thanks.

Was that Louis C.K.?

a great sculptor , more light on this topic th better

Wondereful sculptures and a great film of them.I am so pleased Smith stuck to offering himself as you get all of him, his depth. The flat/3D or sculpture/painting thing is not really the point.

I like this work alot. Reminiscent of Smath, yet distinctibve as well. I like the smaller vertical pieces especially. I would imagine that the open skeletal pieces are best seen in person.

Interesting sculptures. I like his smaller forms. As a metal sculptor, I appreciate the level of workmanship they show.

The work looks amazing. I was not aware of his work. Excellent post. Thanks.

Feeling a little heady; walking on air, swooning from the brilliant commentary for this show. from all of you guys. This exhibit of Smith's late works is utterly delightful, chock full of warmth, and yes- " magic".

Honestly, some look like they are from a horror show.... and thats not a criticism, just my take. I prefered the small ones... they all have the same formula: A head placed directly on top of a classical, political bust, with wonky lips, eyes and nose. The glazes on the small ones are awesome.

When you were talking about how intent and work seemed to not meet in the Muñoz it helped an idea gel for me. I feel like that's a common theme across a lot of art in our time right now. I think it helps frame the Heizer pretty clearly. There are kind of two points that pop out for me from there. There's what's kind of clearly a rendition of some of his older gallery works with the frames, like Displaced Mass or others that have been at Gagosian, but with a deconstructed frame, as a plinth and a backdrop. But what you were maybe hinting at with regards to the start of his work is that his gallery pieces sort of function as a pastiche of his real 'art' if we can say so. They create a big dramatic uses of space, like the Muñoz attempt to recreate a moment like walking into a surreal stage production, but then both are frozen in just such a way that they, instead of engaging you kind of betray what feels like a misanthropy or a disengagement on the part of the artist. The Heizers feel like high-end merchandising for the recent opening of City. Which feels like a tragedy as there's a definite desire for us to engage with the stone itself. The talk about the bronze seemed weirdly similar in a way, that the stepwise developments in his illustrations had made an unnecessary quantum jump from pencil to charcoal to bronze.

Greatly enjoyed the show, but too much front and back, not enough 3 dimensionality.

Why is the scale ambiguity of Tucker’s larger pieces “disturbing”?

I enjoy your musings and always learn something new, I had never heard of David Smith so now I have a new area to pursue thank you

Nice butts

I would’ve liked to see what the armature looks like

I like how he keeps saying ‘most of you’ - I sense he’s going to kick one over - lol

Wonderful curating.

Jock, you're a star. Listening to the art curator makes me cringe she tries so hard!