new-york

George Sugarman

Fischbach Gallery

Where Steiner fails to capitalize upon the use of color in order to articulate (rather than equivocate) sculptural ideas, George Sugarman, showing at the Fischbach Gallery, succeeds to a greater extent. This is of course due to fundamental differences in formal organization and aim, but it also points to the fact that color need not always be felt as a superfluous feature of plastic form. In his four-part sculpture Yellow to White to Blue to Black (in which the last two parts are coupled) Sugarman emphasizes the separateness of each unit by both spatial disposition (the pieces are set at intervals in a line across the floor) and by painting each whole section a different color. The blue piece is colored white on the inside and its counterpart is blue and black, but that, too, has the effect of clarifying the distinction between inner and outer surfaces. While color points to diversity,

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.