PRINT December 1966

Anthony Magar and Forrest Myers at Dwan

THE NEW CURRENTS IN American sculpture appear to have converged upon geometry. Taking as a start the work of Gabo, Pevsner, Albers, David Smith, Anthony Caro, et al, the younger sculptors seem to have been rushing out to the machine shops and commissioning elegant abstractions of steel and aluminum, and defending the invasion as a function of contemporary scientific and mathematical thought. The approach seems to be a justification of art through science. But, art as a visual, tactile experience cannot be dealt with entirely in terms of intellectual patterns. In the end the product, the finished work of art must survive by its look and feel in the environment of a more generalized contemporary consciousness.

The work itself must be scrutinized, particularly because the extreme simplicity of much of the new structural sculpture demands close attention to detail. If a flat surface of metal

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