TABLE OF CONTENTS

PRINT May 1974

Robert Grosvenor’s Fractured Beams

DEALING WITH SIMPLE, LARGE-SCALE, solid, geometric forms while purging implications both of the monolith and of the hollow, mock-up Minimal phantasm, is setting oneself a task. Attempting, further, to retain tectonic density while avoiding the fuss of Constructivist composing, tests the possibility of a highly reductive sculpture that still involves doing something to material, and producing a static, affirmative object. Robert Grosvenor’s wood sculptures of the last few years handle such issues admirably.

Even when Grosvenor’s shaped-up, squared-away work was Minimal, its inventive forms seemed to say more as freestanding ideas than Minimalism preferred generally to say. His work still has a quality of blunt, forthright statement, even though there is less outward shaping now than earlier on. In Topanga, 1965, where a cleanly faceted leaning diagonal cantilevers down anxiously, just short

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