Masters of Modern Sculpture Part III: The New World

Masters of Modern Sculpture Part III: The New World (1978)

In the Second World War there were no materials, but there still was creativity. So you either had to stop working, or go on working. Life means going on and death means stopping. And so the only thing that was available... I began to use wood. At that time I don't think there were sculptors using wood, unless they were using it to carve away, instead of assemblage. So I began and it pleased me. First the intimacy and second the immediacy.

Tony Smith in Masters of Modern Sculpture Part III: The New World (1978)

David Smith in Masters of Modern Sculpture Part III: The New World (1978)

Richard Serra in Masters of Modern Sculpture Part III: The New World (1978)

George Segal in Masters of Modern Sculpture Part III: The New World (1978)

Claes Oldenburg in Masters of Modern Sculpture Part III: The New World (1978)

Isamu Noguchi in Masters of Modern Sculpture Part III: The New World (1978)

Louise Nevelson in Masters of Modern Sculpture Part III: The New World (1978)

Carl Andre

Louise Bourgeois

John Chamberlain

Nancy Rosen

The Masters of Modern Sculpture series concludes with a look at post- World War II America, where sculpture became a deeply innovative art form. Using the objects at their disposal and the inspiration surrounding them, artists suc...

Michael Blackwood

The Masters of Modern Sculpture series concludes with a look at post- World War II America, where sculpture became an innovative art form. The New World observes the artists utilizing wood, metals, and discarded objects, bringing forth lively and shocking work. Americas remote spaces and abundant materials enabled them to add to the concepts of European modernism in daringly unique ways.

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The Masters of Modern Sculpture series concludes with a look at post- World War II America, where sculpture became a deeply innovative art form. Using the objects at their disposal and the inspiration surrounding them, artists such as George Rickey, Claes Oldenburg, and Louise Nevelson cast sculptor in a new light. The New World observes the sculptors creatively utilizing wood, metals, and junkyard finds, bringing forth lively and shocking work. America's remote spaces, discarded objects and abundant materials enabled them to add to the concepts of European modernism in daringly unique ways.

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Masters of Modern Sculpture Part III: The New World

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