Robert Hudson: Space and Comouflage

THE ARTISTIC SITUATION IN San Francisco has been described so often as cloistered, inbred, and idiosyncratic that the contributions of individuals have the tendency to be overlooked. One such case is that of Robert Hudson. While many of the prevailing cross-currents of influences, attitudes, and tastes are clearly prevalent in his sculpture, within this framework of time and place, a closer examination would reveal a vital worker with a set of conditions suggesting an important approach toward an optical sculpture.

Hudson began his career as a painter at the San Francisco Art Institute, attracted by the atmosphere of such fellow students as William Wiley, William Allen, Joan Brown, and Manuel Neri. His pictorial training was in the prevailing (at one time first hand but subsequently modified) mode of Abstract Expressionism. The emphasis of the style was directed toward both the physical

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