New York

Herbert Ferber

Emmerich Gallery

It has seemed for the past several years that Herbert Ferber has been unable to free his sculpture from an absolutely debilitating kind of preciosity; his recent sculptures offer little to dispel this impression. Beyond this, however, my own feeling is that there is something profoundly contradictory in their status as sculpture, their physical configuration begging to be seen in a way with which it is simply impossible to comply. The contradiction is something which is prevalent in much of today’s sculpture and has to do with the fact that Ferber’s sculptures are as basically dependent on a figure-ground reading, as are, say, Kline’s paintings. In fact, when Ferber comes nearest to overtly acknowledging this dependence, as in his Circle and Calligraph III, he manages somewhat to redeem his sculpture. The elements in Circle and Calligraph III stay pretty much within one plane, so that the

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