Comments on: Where is Abstract Sculpture? Abstract Critical is a not-for profit company aiming to establish a new critical context for all generations of artists involved with ambitious abstract art. Sun, 09 Nov 2014 17:23:33 +0000 hourly 1 By: Tim Scott Mon, 05 May 2014 23:00:55 +0000 re: my comments on Brancusi and African sculpture (para. 13), I came across this passage in ‘The lost 1941 interview- Henri Matisse’ recently published by the Tate:
“…. the corner was full of little wooden statues from Africa. I was astonished to see how it was conceived-I mean in terms of sculptural language-how close it was to the Egyptians. In other words compared to European sculpture, which is always about muscle-because of the emphasis on describing the object-in these African statues the medium dictated the form, while the shapes and proportions were invented …”

By: Tim Scott Fri, 24 May 2013 13:44:54 +0000 CORRECTIOM:

….This,in turn,pinpoints the differences in quality in the radical rethinking of sculptural form based on intense observation AND that stemming only from imagination, fantasy, or some imported programme……

By: Robert Persey Thu, 23 May 2013 09:41:23 +0000 Yes Patrick this is a good article but no Patrick it is not a call to sculptors to go hunting for something sculptural to appropriate from guitars.
The form of an acoustic guitar fundamentally results from a necessity to create sound, which is in itself a physical thing. Materials are selected, shaped and desposed together into a particular structure,another physical thing,for that purpose. The sound and the object belong together, they are synonymous and from this relationship we recognise and wonder at its three dimensional coherance.

But the sculptor who comes along to steal the trappings of this relationship and uses some visual aspect of the reality of an existing object, or all of it, to bolt on and re-present as art is just involved in various types of mimicry.

The point Tim is making here, is that if a sculpture is to be a convincing three dimensional experience then is has to have its own, invented cause to effect structural reality. Picasso’ Guitar, regardless of whether it is convincing sculpture in itself or not, effectively introduced the powerful posibility of construction as sculptural means. It brought into focus the essential necessity of invented structural coherance that was present in the the great sculpture that preceeded it but had become hidden by preoccupation with surface and other aesthetic qualites.

By: patrick jones Sun, 19 May 2013 14:16:30 +0000 Dear Tim,This is terrific article ,which I cant pretend to have fully digested in one reading .However “Guitar”remains one of my favourite ever artworks.On a visit to the Quai Branlie Museum in Paris,there was a case full of lutes and one string instruments from Africa,whose sculptural potential looked huge to a painter!.Very enjoyable and will read again.