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Geometric Abstraction In America, Donald Bartlett Doe

Sheldon Museum of Art: Catalogs and Publications

Precisionism and Regionalism were the dominant styles of the late Twenties and early Thirties; the isolationist and chauvinistic attitudes which encouraged conservative imagery of the American Scene generated scorn for Modernist art. Sounding very like the critics who derided the Armory Show of 1913, Thomas Craven (for example), writing in the New York American in 1936 about A. E. Gallatin's purchase of Picasso's Three Musicians for his Museum of Living Art, set a standard for vituperation:

Rallying around a fallen idol, the vested interests, collectors, nuts and professional esthetes have joined hands in a last desperate campaign to restore the …

Rhythmic Clay: A View Of Jun Kaneko's Process, Daphne A. Deeds

Sheldon Museum of Art: Catalogs and Publications

In this diverse age of artistic pluralism, retrospection and cynicism, Jun Kaneko's ceramic sculptures prevail as confirmations of essential constancies. The certainties of man's elemental graphic urge, the determinism of archetypal shapes, and the symbiosis of time and space are all revealed in Kaneko's three dimensional abstractions.

Kaneko employs abstraction, not to transcend contemporary complexities, but to reveal the inherent synchrony of the natural world. From a position of acceptance, rather than control, Kaneko is but one participant in a private conversation with his media. And though this internal conversation is not directed at Kaneko's audience, we partake of his …

Of Steel And Brick And Ordinary Things: The Sculpture Of Carl Andre, Donald Bartlett Doe

Sheldon Museum of Art: Catalogs and Publications

64 Steel Square represents Carl Andre's first use of modular units of steel. Dating from 1967, it reflects nearly all of the tenents of Minimalism which Wade Saunders and his generation of sculptors (who are now gaining prominence) have labored to abandon.

Precisely as the title* indicates, the work is a square of steel plates, each measuring, with minor variations, eight by eight inches . Those dimensions, squared, produce both the size and the form of the completely installed work.

The blunt, arithmetrical logic of the work is underscored by the conspicuous absence of the artist's hand: it is not …