new-york

View of “William King,” 2014. From left: Infant, 1973; Waif, 2010; Citrus, 1998; Early Settler, 2010.

William King

Greenspon

View of “William King,” 2014. From left: Infant, 1973; Waif, 2010; Citrus, 1998; Early Settler, 2010.

Sixty years after William King’s first New York gallery show, his art looks as fresh as ever. The twenty-seven sculptures and six drawings that were on view in this survey ranged in date from 1946 to 2010, and showed a surprising consistency of attitude given the variety of materials (wood, various fabrics, ceramic, vinyl), sizes, and art-historical referents employed, not to mention the various artistic trends and movements King has seen come and go, from Abstract Expressionism through postmodernism to whatever we call what we think is going on at the moment. As for those trends and movements, he always shrugged them off; his deepest sympathies seem to be with the socially conscious figurative modernists who showed alongside him at the Terry Dintenfass Gallery in the 1960s through the ’80s—Robert Gwathmey, Jacob Lawrence, and Robert Andrew Parker among them—and with

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