Daniel Thomas : Newspaper writings

Armitage's method for expressing that old post- war edginess was to com- press his figures into one fiat Mane; his more re- cent people are chunkier, sometimes tumbled help- less on the ground. At least he has a genuine interest in the human figure; the pieces have not become figures by accident like Chadwick's. Since Archipenko (or whoever else) first put a hole In a sculpture 40 years ago, space has been a more pressing sculptural concern than the human figure. Chadwick and Meadows conceive their sculptures un in the air, and only then, I suspect, do the necessary supports turn into legs, and the whole become an insect or a figure. Similarly the frankly abstract fat archaic totems or screens by Dalwood, or the graceful thin sheet - metal constructions of Robert Adams, by remain- ing on one lea, or by tak- ing to a wall, avoid the temptation- of the figure and the dangers of becom- ing a doll, or a toy, On the whole, therefore. they lack the spontaneity and freedom possible in direct welding. They cannot be assimi- lated into the same power- ful wave of taste that ap- proves of actimi painting, of venturing into the un- known, of experienced risk. It is another of KIM- pel's advantages to have these qualities. Paolorzi, however, has them too. At 39 he and Dalwood are the youngest exhibitors, yet he has seem- tendencies (the two prin- ed a major artist for more than ten years al- cipal tendencies of his ready. Although they are of bronze not all his pieces are repeatable, and always !hey are full of the won- der of discovery, If "Mekanik Zero" is a sort of six-foot man on time, the 19305) are both present, and fighting and stimulating each other. His figures, reclining or seated, have always been monumental, massive, and firmly planted on the ground. Their forms have two legs he ttas, In more often been very close to recent developments from ancient Roman sculptures. this theme, emphasised the Often their erosions relativity of matter and have Implied perfection, in the mutability of form by the way that a river will shifting the "legs" much wear a stone into a per - farther apart; the "man" feet shape. Immediately becomes a mantelpiece. But also they can imply impermanence (an anti- Paolozzi then is truly classical quality), change modern; only possible and ambiguity. And one since surrealism, and Bin- pplece, the "Three-part Oh- stein, and Darwin.jest" - not illustrated in Hepworth and Moore, the otherwise lavish cats - the older generation, both logue - is a fabulous ex - famous since the 1930s. are ample of his surrealist strangely classical. Hop- tendencies for tmce com- worth, especially subtracts, pletely dominating the seeks essentials, perfec- classical. Hons. and certainties, not a demonstration of eter- This kind of art, only possible since Freud and nal flux. Jung, since the great dig - Henry Moore's confirm- coveries about the human log strength, it now seems mind, is also truly mod. clear, is that the neo-clas- ern, and therefore likely ideal and the surrealist I to remain great. WHAT'S ON TODAY AND NEXT WEEK Art Canvey of H.S.W,i ..I I. t....en-necont British Sculpture ALL NEXT WEEK Terry Clone: Robert Klippel, sculpture to..ages. Hungry Horner Upstairs, Emmanuel. Rail. pa.ntlngS and PaSliall Downairel Willlorn Merle, wooden bo, RudyP Kerner,: Ramas Vilma.. lithogrwaphs and etchings. Tom Sanders, an Tottey. ta Hall: Motown Art Pr re, 7.5. 7,9, InCludina "'"nlgh A C :1141 " 11949.ar . 0314 %Tr.' nd 'a... ay." ' E ducation Department Gallery: ROY61 ur, Von nonsuch, Neweestiei From% erth., Walk Gallery, OPENINGHorneh1P9.!!!!! TtliSDAY Artleirow, Artermonptit4IINGes4.,%;141.1,Anvolter, ODavid J Society of Arial., annual olhiblVen. / wry Storm Jmes Van Berlouch. Nows4giteiNsPiVA, etrnilc;.).Ng Laverty, Mary While School, 6 p Tnella Krug. Hind., "TELEGRAPH" Sydney, N.S.W. 22 ^ ;it The Week in Art by Daniel Thomas Klippel v. British sculptors "RECENT British Sculpture" now at the Art Gallery of New South Wales is without doubt the most important exhibition we will see this year. Here are forty-four sculptures, some of them enormous in she, by nine artists of international reputation, plus drawings by four of them. And at least three of these repu- tations - Moores, It a p - worth's and raolozsl's - are probably secure. Indeed a large-scale ex- hibition of major sculp- ture has never before been shown in Australia, though the British Council, which brought this one out, did bring out a smaller show of Henry Moore alone in 1947-48. That earlier exhibition, being our first comprehen- sive sight of any modern master, was probably more Influential than this will be. Sculptors' Societies were formed shortly afterwards, tentative sculptural activi- ties coalesced, and by now we have a respectable local wheel of sculptors. One of them, Robert Klippel, just returned from tix years in America, has ieliberately invited direct iomparison by timing his "Three -port Object" by Henry Moore. Chine Gallery exhibition to coincide with the Bri- tish one. It gives one much paro- chial pleasure to declare that Klippel is as good as. if not better than, some of the British. He has one slight advan- tage. His sculptures were made this year and last year; newly minted works of art always have the gloss of spiritual fresh- ness, of mysterious sym- pathies In common with a spectator anywhere in the world. The British pieces have been on the road for two years, none are more re- cent than 1980, and thus they have already dropped back into history. - Mere newness is an un- necessary aid to seduction by the great, but it might have helped Dalwo od, Arir 'tage, Meadows and Chi. Iwlck. The last three were in- cluded in the successful International launching of British sculpture at the 1952 Venire Blennale. "The genmetry of fear" was a neat phrase coined to signify the connection between their spikey, un- easy forms, and a Euro- pean world of anxiety, atom bombs and concen- tration camps. Bronze relief by Robert Klippel at Clune Gallery. "Mekariik Zero" by Eduardo Poolozzi.