By Ellen H. Johnson
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Extra info for American Artists On Art: From 1940 To 1980
It's really the line between two objects. Uou see how delicate that can be? , . I just automatically went to wood, 1 wanted a medium that was immediate, Wmd was the thing that 1 eauld communicate with almost s p n t a nwusly and get what I was looking for , , . when I'm working with wood, it's very alive. The fact that it's wood means it has another life. . , Another thing that fascinated me and really clicked it for me. . X saw a canoe paddle. It must have been African or Indian-carved, , .
And what the artist; says it iss you can see by his work. I would like to Xeave it just like that. The trouble is, every time I make one sculpture, it breeds ten more, and the time is too short- t s make them all. N w e h n , Sky Cal-kdml, 1958. W d construction painted black, 11. fk 3%in. X 10 R 44 in. X 18 in. Museurn of Modern Art, NW York, Gift af Mr. and Mrs. Ben Mildvvaff. OTHER ART OF THE FORTIFS AND FIFTIE;S 41 Candidly, I've always thought that two dimensions, the flat surface like in painting, is far superior to sculpture, .
So that now, particularly, that we have and can produce these monumental pieces, I think that room must be made for peoplie who really have to study and make a blueprint far the placement of seuIpture in space, Maybe we could call them sculpturearehitwts. Rememhr Z was in my early seventies when 1 came to the monumen- 44 AMERICAN ARTISTS QP;" A R T tal, outdoor sculpture. Now something in the living conscious being has a b a t , and you move on. Something happens and you ibeeorne private, something happens and you become public, Sometimes you want to be alone, sometimes you want to communicate.