George Sugarman A Sculpture Essay Example For Students

George Sugarman: A Sculpture Essay A Polychrome Profusion; sculptor George Sugarman, Fine Arts Building, New York, New York BYLINE: RUBINSTEIN, RAPHAEL Best known today for his public art, George Sugarman began his career with formally eccentric painted-wood sculptures. In a revelatory New York exhibition, early pieces were shown alongside the 86-year-old artistquot;s more recent aluminum work. In the course of 1998, there were a number of important sculpture exhibitions in New York galleries and museums, including the Museum of Modern Artquot;s Tony Smith retrospective, Diaquot;s presentation of Richard Serraquot;s Torqued Ellipses, and a group of David Smithquot;s late painted-steel works at Gagosian Gallery. For me, however, the most impressive and thought-provoking sculpture show of the year was a concise survey of George Sugarmanquot;s work presented by Hunter College at the galleries in its Fine Arts Building on Manhattanquot;s West 41st Street. Bringing together 16 sculptures made between 1958 and 1995, the exhibition allowed viewers to trace Sugarmanquot;s career from his carved-wood works of the late 1950s to his polychrome, laminated-wood pieces of the 1960s to the painted-aluminum work that has occupied him since the early 1970s. While the show did not cover Sugarmanquot;s extensive activity in the public-art realmover the last 30 years he has created large-scale public sculptures throughout the U. S. as well as in Europe and Asiait was an effective presentation of his indoor work. Sugarman has drawn a useful distinction between what he calls the indoor eye, a museum- and gallery-oriented esthetic vision which perceives the work of art in isolation from its surroundings, and the outdoor eye, which allows us to view public art as part of a wider environment. Thanks to the presence of major, rarely seen works such as Two in One 1966 and Ten 1968, the show was a welcome reminder of Sugarmanquot;s unique and indispensable contribution to postwar sculpture. One of the earliest works on view was Six Forms in Pine 1959, a carved-wood sculpture which brought Sugarman his first major recognition when it won a prize at the 1961 Carnegie International. Among the last of his unpainted works, itquot;s a nearly 12-foot-long, smoothly flowing concatenation of horizontal abstract forms that rests on two pedestals set several feet apart. Rippling patterns of chisel marks are visible across every surface as are the strata of the laminated wood. The forms, which range from gently swelling, landscape-like shapes to more sharply defined volumes that evoke architecture or hand tools, are clearly differentiated within the continuous overall structure. While the carving technique and biomorphism relate Six Forms in Pine to established sculptural styles of the 1950s, the sculpture also possesses properties which presage Sugarmanquot;s innovative work of the next decade. The double pedestal format, in which the sculpture seems to be leaping off its bases, anticipates his subsequent elimination of the pedestal, and the emphatic horizontality of the sculpture is a move toward the extended structures of the artistquot;s 1960s work. Sugarmanquot;s next phase was represented by three works: Blue and Red 1961, Second Red and Blue 1962 and Three Forms on a Pole 1962. As the titles of the first two sculptures suggest, color is an important component of these works; the sculptures also show Sugarmanquot;s rapid elimination of obviously hand-carved surfaces. Measuring 3 1/2 feet high and 5 feet long, Blue and Red is an open, carved-wood piece combining geometric uprights with more organic cantilevered forms, all of which are painted in primary colors. Second Blue and Red, a modestly sized pedestal work, relies on similar colors but it takes a very different compositional approach. Balanced atop a chunky red form that suggests a bending torso is a horizontal blue element made from flat, irregularly shaped pieces of wood that have been pressed together to create a kind of sideways sculptural sandwich. With few, if any, precedents in the history of sculpture, this playfully inventive blue element in and of itself, as well as in relation to the red form announces Sugarmanquot;s gift for finding new kinds of sculptural syntax. When the Hunter exhibition picks up the tale again, itquot;s 1966, the year Sugarman made one of the most striking works of his career, Two in One. At first glance, this sculpture, which was given a gallery unto itself, looks like it should really be called Nineteen in One, since it consists not of two but of 19 different painted-wood forms laid out in a narrow, 24-foot-long V formation. At the apex of the V is a dark-purple, floor-hugging geometric shape that looks like a freestanding sculpture toppled by some careless passerby. The two rows of forms branching out from this flattened keystone are as abundant and various as the contents of a childquot;s box of toys. The palette can shift, in the space of four elements, from yellow green to cobalt violet to black to cerulean blue, but just when it appears that Sugarmanquot;s system is to give every part a different color, you notice a sequence of three adjacent shapes painted bright yellow. The shapes and sizes of the elements are, if anything, even more varied than their colors. Sugarman juxtaposes solid and squat forms with others that are cantilevered or attenuated; he creates internal volumes by both organic and geometric enclosures; singlemass forms give way to latticelike structures; a knee-high form is succeeded by a towering 11-foot presence. Some of the individual parts are themselves multifarious, such as a low-lying, raw-sienna piece near the junction of the two rows which combines a highly abstracted kneeling figure, a cantilevered beam and an upright plane it looks like a snowplow blade that seems to be pushing the rest of the sculpture before it. This veritable encyclopedia of sculptural possibilities appears concerned with defying all formal continuity, but as you move around Two in One, which is laid out to offer a virtually inexhaustible number of viewpoints, the relationships between the various components begin to seem not so purely random. An angular, constructivist form and a biomorphic shape turn out to share similar internal volumes; the sides of a low, sawtooth form rhyme visually with an hourglass shape that rises next to it; lateral slots recur in several components; the asymmetrical nature of the two branches is balanced by the consistent bilateral symmetry of each individual piece. At the same time that he invites the viewer to enjoy this inventive, almost carnivalesque parade of shapes, Sugarman also offers multiple occasions for us to partake of his unusual artistic logic, to uncover how one form covertly translates into the next. Age Of Romanticism EssayTruncated, footlike extensions along the bottom of these looping elements help stabilize the piece as well as establish a formal connection to the floor on which the sculpture sits. In addition to its understated technical brilliance, Ten also exudes powerful symbolism. Holliday T. Day, the curator of Sugarmanquot;s traveling retrospective of 1981-82, has drawn attention to the workquot;s female and male polarities: the three narrow forms at one end suggest a phallic lingam form, while the oval at the other end is emphatically egglike. Brad Davis, an artist who worked as Sugarmanquot;s assistant during the making of Ten, has described the work as being somewhere between an Egyptian sarcophagus and a tantric cosmic egg. 8 The work also presents a paradoxical situation of a shelterlike structure which is impossible to enter. Itquot;s a tribute to the undogmatic nature of Sugarmanquot;s imagination that Ten should forgo so many of the qualities that characteriz ed his work of the previous decade bright colors, incongruous elements. And itquot;s equally noteworthy that after completing Ten he didnquot;t go on turning out variations on the theme. After a quick stop in 1970 for Green and White Spiral, a tour-de-force demonstration of how to arrive at formal complexity by multiplying and repositioning a single element, the Hunter show skipped ahead to 1987. In the intervening years, Sugarman embraced the medium of painted aluminum, both for large-scale outdoor works and smaller sculptures. It would have been interesting to see some of the maquettes Sugarman fashions, using a pliable paper and leather compound, for the aluminum works. In the 1970s, as well as creating public sculptures around the country, Sugarman expanded his practice to include wall reliefs and acrylic paintings. Responding to the properties of his new materials, while still retaining his enthusiasm for color and irregular shapes, he opted for different kinds of forms, building sculptures out of fiat, foliage-like elements. After the austerities of the Minimalist 1960s, his work found a more congenial art-world environment in the mid-quot;70s. In his recent survey Art of the Postmodern Era, Irving Sandler discusses Sugarmanquot;s 1970s work in the chapter on Pattern and Decoration Painting, noting how the profuse forms and exuberant color of his early 1970s work stunned the younger P D artists. 9 Sandler also makes the intriguing suggestion that Sugarmanquot;s painted-metal works may have influenced the metal reliefs Frank Stella began making in the mid-1970s, when the erstwhile Minimalist embraced wildly colored, curvilinear forms. The seven sculptures from the late quot;80s and quot;90s that rounded out the Hunter College exhibition demonstrated that Sugarman, who turns 87 this year, has continued to evolve artistically. The Hanging Men 1987, is a freestanding, black-and-white structure that evokes mechanical objects such as gears, rudders and airplane parts. The sculpture seems to reject the sensual spirituality of Ten and is equally devoid of the gracefully proliferating, vegetal forms that mark many of Sugarmanquot;s public works. The hanging men of the titlethree black, bladelike forms impaled on a white spar that projects from the sculpturequot;s sideare less the sculpturequot;s subjects than they are its victims. Yellow Fringes 1990 shows Sugarmanquot;s continuing involvement with eccentric, disparate forms. The core of this sculpture, which is installed high on the wall and suggests a spiky, half-open fan, is a bundle of three black-and-white girdersone sporting sawtooth edges, another punctuated by bent flapswhich jut out several feet at about a 40 degree angle. Wedged between these girders and the wall are five flat aluminum forms, alternately black and white, that resemble oversized Christmas stockings. Bristling from the outside of the girders are three bright-yellow aluminum forms the fringes cut into rhythmic, fencelike patterns. With a formal unpredictability as great as his one thing after another floor sculptures of the mid 1960s, Sugarman here invites viewers to exercise their vision by focusing attention in an unusual place where the wall meets the ceiling and, there, to engage in retinal battle with a thrusting sculpture that keeps its complexities partly hidden. Yellow and White 1995 is a roughly 5 1/2-foot-high aluminum work composed of two elements: a gracefully twisted white shape at once suggestive of a curving funnel on a ship, a megaphone and the pistil of a flower, and, at its base, a boxy yellow form with irregular folds and scalloped edges. Sugarman works against our expectations by placing the more brightly hued, petal-like form on the floor rather than at the top of the stemlike white form. He also creates a work which, with its tapering edges, torqued planes and opened and closed volumes, offers the mobile viewer an equally mobile set of formal relations. In his introduction to the catalogue that accompanied the Hunter show, Museum of Modern Art curator Robert Storr suggests that there is a resonance between Sugarmanquot;s work and that of younger sculptors such as Polly Apfelbaum, Charles Long and Peter Soriano. I agree with Storr in seeing an affinity between their work and Sugarmanquot;s particularly his painted-wood sculptures of 1963-67, and would only add to his list three more American sculptors: Jeanne Silverthorne, Jessica Stockholder and Daniel Wiener. One quality of Sugarmanquot;s work that links it to the sculpture of artists 40 or more years his junior is that in the early 1960s he rejected the notion of troth to materials, happily obscuring the natural properties of the wood he used with repeated coats of acrylic paint. Another is his Baroque-influenced fondness for extended forms that undertake unruly excursions from their bases. 10 Given these affinities with younger artists, itquot;s surprising that Sugarmanquot;s achievement isnquot;t more widely recognized and that it was left to Hunter College, rather than a major American museum, to offer this survey. No doubt, Sugarmanquot;s long focus on public art rather than on gallery and museum work has been a factor. Also at play, I fear, is the profound indifference shown by large swaths of the art world to the kind of formal inventiveness and complex visual thinking on which Sugarmanquot;s art is based. I can only hope that the art students who made up a significant portion of the audience for this exhibition found some of their late-century assumptions about art-making challenged by the high order of visual invention on hand.