TABLE OF CONTENTS

PRINT Summer 1969

The Sculpture of Roland Brener

IN ATTEMPTING TO JUSTIFY the existence of things made willfully by man for no obvious use, we are faced with the necessity of justifying to ourselves our own concept of existence. The more obviously unfunctional, unarchitectural, undecorative, un-anything the thing created, the more acute this necessity becomes. English sculpture in the early sixties was justified by the most literate of its practitioners in terms of the unequivocal status of objects: “Sculpture. . . . must have the generality of the world: the identity of the object: the character of a human individual,” and “Sculpture is a proposition about the physical world, about a finite order (completeness), and by implication about our existence in the world. . . .”1

In 1965 six young sculptors, all former students of Anthony Caro from St. Martin’s School of Art, exhibited together at the Whitechapel Art Gallery as a New Generation

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