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Thomas Bang

A CERTAIN CONTINUITY BETWEEN SOME modernist and postmodernist art is hinted at when the term “pictorialism” is extended to sculpture. The sense in which this term seems properly to be able to link modernist painting with some recent three-dimensional art is examined with fine intelligence in the new work of Thomas Bang shown at O.K. Harris.

“Pictorialism” implies something that sculptures do or may have in common with pictures. What I intend by the word is not a description of certain sculpture as linear, or organized in a single plane, or atmospheric (as, say, Eva Hesse’s work is often called), or even figurative; all of these possible senses of the term seem to me trivial, if correct, in relation to contemporary work. One thing that a painting almost inevitably does, if it deals seriously with pictorial problems, is to posit a kind of space uniquely accessible to the viewer. Sculpture

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