PRINT Summer 1968

Richard Van Buren, David Novros, Charles Ross

IN RICHARD VAN BUREN’S earlier sculptures, which were made of opaque colored fiberglass cast over plywood, chunky volumes related aggressively to each other, angling into and cutting against the space around them. Usually two or three diagonally sliced or bar-like sections were arranged so that certain self-contained space relations were forced to occur between the parts. Such studied interior relationships somehow tended to exclude both the scale and physicality of the viewer and the room space around the pieces. Some of the later works were anchored low on the floor; their particular inertness, coupled with the necessity of having to look at them from an aerial viewpoint also suggested this kind of defiance of the spectator. Nevertheless, these sculptures had a confidence and a streamlined, though complex geometricity that may seem lacking in the new work. But Van Buren is now working

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