Richard Hunt

Sears Tower

Richard Hunt makes good tough sculpture but when he turns to prettiness, his work loses its formal, conceptual, and even mythological edge.

He started Hybrids in the early ’60s. Linear, steel, elongated “insects” that coiled around like paranoid flies, they made weird paths into space from little point-anchors on wall, ceiling, or floor. In the later ’60s, his work stressed massed or crushed bodies welded together with organically shaped fragments. Now, he deals more intellectually with the concept of bringing together unrelated elements, assembling them, and relying on the resulting visual ambiguities to give the work its strength.

Hunt says, “I’m not interested in finality; perfection in nonfunctional art is a way of death.” He ignores the stamped-out, technological idea of a single, complete “unit” and opens up specific or perfect shapes—usually spheres or pyramids—into antievolutionary

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