I I

I I

Brook Brook Stony Stony at at York York New New of of University University State State

Arts Arts the the for for Center Center Staller Staller

Gallery Gallery Art Art University University

August August June June 1992 1992 1, 1, - 10 10

• •

KADISH KADISH REUBEN REUBEN ' ' CURATOR'S NOTE ACKNOWLEDGEMENTS Without the dedicated, knowledgable, and sensi­ I would like to express my gratitude to guest tive help of sculptor Jenny Lee and painter Hilda curator Mel Pekarsky, painter and Professor of O'Connell, this exhibition would not have been Art at the State University of New York at possible, and I want to thank them. Herman Stony Brook, for curating this exhibition. Thanks Cherry, Reub's good friend, a poet of a painter, are also due to Jenny Lee, Hilda O'Connell, and and a wonderful man, would have added to his Douglas Still, Registrar, and the staff of Grace statement, but couldn't, owing to failing health; Borgenicht Gallery for their assistance with the he passed away earlier this year. To Dore Ash­ organization of this exhibition. ton, universally renowned and respected for her I also want to thank Dore Ashton for contri­ work on a generation of feisty artists that buting the insightful essay published in this cata­ changed art in America and the world, I express logue. I am also grateful to Herman Cherry who my personal thanks for a deeply felt and moving gave us permission to reprint his essay on appreciation of Reuben Kadish and his work. Reuben Kadish in our catalogue. Special thanks are also extended to members of Mel Pekarsky the Staller Center for the Arts staff: Heejung May, 1992 Kim and Amy Schichtel, Curatorial Assistants; Ann Bomberger, Brenda Hanegan, Julie Larson, Michael Parke, and Christina Ridenhour, Gallery Assistants; David Buckle, Jisook Kwon, and Roseann Stewart, Gallery Interns; Patrick Kelly, Liz Stein, and the Technical Crew, Staller Center for the Arts, for exhibition lighting; and Mary Balduf, Gallery Secretary. Most of all, I wish to thank Reuben Kadish for sharing his work with the Stony Brook community.

Rhonda Cooper Director

Pli«o tmlil' • 1992 Res;n. Ch

Spa.rt

In one of Kadish's published statements, his intelli­ Mexican revolutionary thought that these two boys, gence and self-irony peer through an appropriate Kadish and Guston, were America's great hope. He quotation: "words, words, words." He knows, and sent them to Mexico to make a gigantic in anyone who writes knows, that the distance between Michoacan, and Kadish most certainly registered words and things can be very great, and sometimes forever the searing light and the great stone objects unbridgeable. His own most profound needs are met ancient people carved, and the thousands of sculp­ not through words, but through tangible things tures fashioned in rich red clay, and even the three­ which, all the same, have meaning. What one feels, penny prints with their harsh celebrations of the Day of Death; their skeletons and horses and dogs and • confronted by Kadish's , is an intense search, born of myriad experiences in a long life; an cows and men all submitting to the forces of destiny existential understanding of the importance of homo with grinning masks; those mad calaveras of Posada. fa/Nr - he who makes, who shapes. Even then, around twenty years old, Kadish knew I think of Kadish as a man of substance. Of substan­ that these reminders, so many of them monumental, ces. If we divest the word substance of its long history were all too often of terrible things. of philosophical conundrums, it remains indelibly A few years later, word began to filter back to the substantial-wrought of matter and simply there, United States about the activities of the Nazis, and standing. (The Latin root of the word has the conno­ Kadish's alert imagination was bestirred. He would, tation of standing thereness. Quite unlike the words, alas, have an opportunity during the Second World words, words.) Aristotle thought of substance as any War to see for himself what human beings could do "distinct" thing, but he knew, and artists have always when the will to destroy took charge. He was not known, that substance is always coupled with shadow. unaware, as his of the period show, that Only a sculptor who is himself a distinct thing, stand­ wanton violence not only murders people, but also ing, ever really understands with all his being what it mangles the trees, beasts, and everything contribut­ is to fashion another distinct thing that stands, shad­ ing to life that is not human. Finally, the issue of the ows and all, there. And that also embodies meaning, Holocaust (of all holocausts, since one of Kadish's however mired in shadows. most profound wounds remains a vivid image of what Kadish's caveat about words of course diminishes hydrogen bombs really do)-such dreadful memories the confidence of the writer who knows all too well in one lifetime have surely bu.rrowed into the man what Kadish means. I approach his work, particularly that fashions his response in substances and shapes the reliefs and heads of recent years, trepidantly. I do that bear witness. not want to describe his method, which is superb I have no idea why Kadish chose to respond to his technically, or his choice of traditions, which is ob­ deepest needs by going to ea.rth again. That is, the vious. Rather, I want to try to talk about the sub­ famous decade in which the boy from the big city stance of his work as if it were (and he says it is) the became an expert man of the land, growing provender evidence of the whole of his experience in life; the for himself and his animals, and tending to the ani-. tangibilia remaining after experience upon experience mals with a new awareness of their coexistence moulds the inner man. I, the witness, cannot be sure throughout the history of art with the image of man. (can he, the artist?} just how these various and often For many years he worked only the land. But I am overwhelmingly tragic experiences can have wound almost certain that in the mud of the farm, and even themselves into the huge terra cotta heads, diminish­ the mud of the pigsty, Kadish felt his potential. When ing all the spaces around them and proclaiming them­ he picked up the mud and began to fashion it, he was selves sovereign reminders. Or, into the large sconces at home. As his friend, the wise and intelligent painter hardly containing their enthroned goddesses and Herman Cherry, wrote: "Some of his large terra cottas mythic heroines. But there is a thread, certainly, lead­ look as if they had been dragged from the earth, ing back to the fresh and intense experiences of Kad­ bringing with them scriptural matter. Clods of earth ish's early youth. Back, in fact, to the days when he cling like leeches to its life force." In any case, at a and waxed indignant about the excesses certain point in his life, Kadish felt a compelling force in American life, such as the brutal activities of the and answered with a prolific few decades of scuplture. Klan in when they were boys, and scenes I don't think that a lifetime of worry and dismay of cops wading in among strikers to crack skulls and about human destruction ls all of Kadish's biograph­ poke billy sticks int

March, March, 1992 1992 these these in in eyes eyes of of function function the the for for inventions inventions of of dozens dozens

Ashton Ashton

Dore Dore are are There There . . everything y y -sa world the the on on out out peering peering

but but shadowed shadowed one one and and closed, closed, almost almost eyes-one eyes-one the the

that that sense sense the the in in all all for for speak speak can can , , Briggs Ernie Ernie painter painter

the the friend, friend, a a of of death death the the of of commemoration commemoration the the ork, ork, w

lhtrt. lhtrt. sl•nds sl•nds but but words, words, words, words, words, words, in in renderable renderable not not One One characteristics. characteristics. lient lient sa its its with with visage visage

human human

is is

which which

object object

massive massive the the

of of meaning meaning the the by by sumed sumed the the endows endows Kadish Kadish case, case, each each in in And And ) ) .. .. . another another

sub­

are are - patinas in in part part sculpturing sculpturing its its do do will will light light then then and and ; ; another then then and and one, one, always, always, is is answer answer

way way the the

directing directing

and and

altering altering fire, fire, the the in in permanence permanence His His 7 7 holocausts holocausts fathom fathom to to we we are are himself, himself, asks asks

he he

to to t t

i

bringing bringing

clay, clay,

the the

shaping shaping and and scoring, scoring, pounding, pounding, l l (How, . . commemorations are are heads heads these these of of Many Many

ss-pulling, ss-pulling, proce whole whole the the from from emanating emanating gies gies out. out. inside inside from from whole whole the the

ener­

The The . .

presence

have have

too, too, , , we that that and and here, here, ing ing of of is is , , w shado fact, fact, in in every, every, nuance, nuance, every every until until patina patina

stand­

are are we we that that us us reminds reminds space; space; our our into into volumes volumes the the works works sculptor sculptor the the of of patience patience saintly saintly the the bronze, bronze,

shaped shaped

these these thrusts thrusts It It intelligence. intelligence. ulptural ulptural sc a a in in rendered rendered are are heads heads these these When When form. form. is is

which which

of of

thrust thrust

that that

feel feel

we we

works, works, later later 's 's Kadish of of all all In In that that accents accents and and smooths smooths slip slip clay clay with with and and texture, texture,

. . unease and and lor lor co its its imagines imagines already already he he clay, clay, his his bakes bakes he he

disaffection, disaffection, modernity, modernity, suggests suggests that that memory memory from from before before say, say, to to is is That That finisher. finisher. ster ster . ma a a also also is is Kadish Kadish

recruited recruited

figure figure

this this f f

o ce ce

rfa su the the of of restlessness restlessness modeler, modeler, master master A A . . tance subs inner inner the the out out ferrets ferrets eye eye

the the and and

plane plane each each of of ping ping sha muscular muscular the the in in tained tained the the discontinuous, discontinuous, eruptive, eruptive, sometimes sometimes landscape, landscape,

uncon­

almost almost

violent, violent,

something something There There is is old. old. the the a a as as vast vast as as sometimes sometimes e, e, surfac final final the the on on and and , , . work

displaced displaced having having civilization civilization own own our our of of history history new new at at is is molecule molecule every every outward, outward, center center the the From From sensed. sensed.

a a

contraposto, contraposto, in in stands stands figure figure authority authority Kadish's Kadish's is is This This . . animus an an lies lies congealed, congealed, densely densely so so mass, mass,

broken. broken. is is

times times

old old

those those of of frontality frontality hieratic hieratic the the within within that that is is exhibited, exhibited, heads heads other other many many so so

the the But But

. . chieftain Aztec Aztec n n . a to to reference reference a a This This cific. cific. is is and and terracotta, terracotta, in in heads heads 's 's Kadish between between difference difference

spe­

is is allusion allusion Kadish's Kadish's . . today counterparts counterparts its its has has The The sensed. sensed. never never are are centers centers whose whose masses masses jejune jejune

tribes tribes

nt nt .

ancie

those those

of of

imagery imagery unyielding unyielding harsh, harsh, The The in in results results often often clay clay up up Piling Piling . . passion much much is is there there

permanence. permanence. stony stony a a on on takes takes as as such such AzlKA AzlKA figure figure gouged, gouged, patterned, patterned, scarified, scarified, scored, scored, matter, matter, of of ings ings

standing standing great great a a fired, fired, Once Once stone. stone. includes includes memory memory lump­ mastive mastive these these Kadish, Kadish, of of heads heads bulky bulky these these In In

his his

earth, earth, always always matter matter is is adish'• adish'• K Although Although again. again. and and

forget. forget.

not not must must we we Treblinka, Treblinka, in in Jocastas Jocastas were were There There again again invested, invested, been been has has passion passion person's person's a a of of whole whole

story. story.

his his out out round round to to Jocasta, Jocasta, i>90r i>90r as as such such types, types, the the which which in in something something there, there, standing standing be be must must thing thing

arche­ eternal eternal to to returned returned often often has has He He some­ and and shadowed. shadowed. back back pushed pushed be be must must Shadows Shadows shadow. shadow.

deeply deeply

figures, figures, tragic tragic are are Some Some mothers. mothers. earth earth are are to to yields yields often often too too all all that that substance substance through through , , perhaps

figures figures female female 's 's Kadish all all Not Not . . us Or Or among among free free stand stand substances. substances. in in truths truths fashion fashion to to Sttk Sttk hands hands ose ose wh

to to seem seem

they they that that powerful powerful so so is is presence presence their their but but history, history, in in artists artists of of family family a a artist, artist, of of kind kind a a is is There There

reliefs, reliefs,

high high called called be be must must these these suppose suppose I I America. America. more." more." infinitely infinitely me me interests interests truth truth but but much much very very

pre-Columbian pre-Columbian is is as as there, there, is is India me me explicit. explicit. Interests Interests never never "Art "Art said: said: Giacometti Giacometti something something bered bered

but but

heads, heads, or or breasts breasts or or thighs thighs like like something something are are that that remem­ . . I I phantoms Giacometti's Giacometti's amongst amongst pensively pensively

volumes volumes rounded rounded through through characterized characterized space, space, is is our our and and slowly slowly circulating circulating people people awe-struck awe-struck silent, silent, of of

into into spilling spilling fecundity, fecundity, AU AU his his . I . . wall supporting supporting throngs throngs the the the the aU aU by by struck struck was was casting-and casting-and and and modelling modelling

above above

range, range, within within everything everything animates animates , , rround su of of techniques techniques time-honored time-honored and and

materials materials ancient ancient

the the all all into into reaches reaches spreads, spreads, light light their their which which in in sconce sconce used used also also who who Paris-Giacometti Paris-Giacometti in in work work life's life's

metti's metti's

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a a niche, niche, -like -like trough a a in in enthroned enthroned are are they they Giaco­ of of Often Often retrospective retrospective large large very very the the see see to to went went

women. women.

earthy earthy of of l l sculptures sculptures s s numerou his his in in unfolds unfolds ago ago I I week week A A powers. powers. inexplicable inexplicable have have still still Uously, Uously,

history history interesting interesting long, long, A A woman. woman. in in rebel­ centered centered how how sees sees matter matter no no traditions, traditions, renew renew who who those those

he he

which which procreation procreation of of stery stery my the the all, all, above above and, and, or or history, history, of of prospects prospects great great the the in in themselves themselves see see

beast beast

and and

man man of of tinuity tinuity con the the of of tells tells Kadish Kadish way, way, who who those those that that beUeve beUeve to to reason reason have have n7 n7 . mea I I that that

cryptic cryptic his his In In animals." animals." with with worked worked have have once, once, 1 1 ' does does what what but but archaic," archaic," absolutely absolutely '1'm '1'm says, says, He He

me me

told told

he he forget," forget," 't 't "Don . . mother earth earth the the of of myth myth rth. rth. . ea

the the

particularly particularly and and myths, myths, of of nature nature the the on on ions ions nat the the from from drawn drawn metals metals and and earth earth using using turies, turies, cen

extended extended rumi­ his his with with do do to to has has story story his his many many of of for for Part Part nurtured nurtured have have beings beings human human that that modes modes

. . shapes and and rs rs suffe and and thinks thinks who who he he of of val val in in work work to to chose chose he he that that sure, sure, I'm I'm accidental, accidental, not not

survi­ obdurate obdurate

the the of of tells tells it it

and and tell, tell, to to story story own own his his is is It It expertise. expertise. own own his his to to incalculably incalculably contributed contributed

has has h h s

Kadi But But primitives. primitives. so-caUed so-caUed from from inventions inventions have have world, world, the the of of art art of of s s work great great the the of of edge edge

selected selected

unerringly unerringly so so that that eye eye 's 's Picasso to to attentive attentive knowl­ immense immense his his and and Uves, Uves, invidual invidual of of turies turies cen ing ing

was was

Kadish Kadish r r younge the the imagine imagine I I cage-and cage-and bony bony the the inhabit­ and and , , twining twining presences sculptural sculptural whelming whelming

behind behind sunk sunk eyes eyes eyes, eyes, protruding protruding , , eyes t t -sli heads over­ s s . it and and , , India with with familiarity familiarity his his Surely Surely places. places.

1 1

l l

high high cotta, cotta, 19\.i~ 19\.i~ Terr.11 Terr.11

19&5 19&5 , , Brlggt Eml< Eml< for for MemO.UI MemO.UI

J J } } Notes By Herman Cherry Around 1932 or 1933, in Hollywood, Cali~ornia, and Paris had been broken. Artists from far and wide Lorser Feitelson, a painter well-known for his knowl­ were moving to New York as if drawn by a magnet, edge of Renaissance art and a teacher of Reuben to weld an art community that would shift the center Kadish, then twenty years old, brought Reuben and from Paris to New York. Philip Gus ton to the Stanley Rose Bookshop, where I Historical events had caught up with Reuben. In worked. I had just opened a modest art gallery on a 1943, a message from the War Department asking balcony in the rear of the shop. As I myself was Kadish to join the Army Artists Unit to document barely out of art school, I had been searching for the ongoing theaters of war, however, delayed his young artists and had heard of Reuben and Philip as move. He was assigned to India, Burma and other promising young painters. In 1930 Reuben had Eastern war zones, and his assignment had a shatter­ entered the Otis Art Institute, where he met Philip ing effect on his life. The conditions of depravity Guston. Both being political mavericks, they soon among human beings in what seemed a senseless found themselves at odds with the county school. In war, the stalking death, the indignities of shattered about 1931, Reuben entered Los Angeles City Col­ bodies, the bombings and human debris - what lege for a year to study anthropology and zoology. could all this inhumanity mean7 How could one That interest would continµe throughout his life. express it? It was a message that fought to get out. Alfaro Siqueiros, the dynamic Mexican muralist Reuben's war drawings are some of the most power­ who had come to L.A. in 1933 to teach at the Choui­ ful and agonized he made. It took a while for him to nard Art School, was to paint a controversial fresco record them on paper. The flesh was too fresh. in the Plaza Art Center in downtown L.A., thus The year 1945 was crucial for Reuben. The expe­ attracting Reuben who became his assistant. In 1935, riences of the war and the final decision to move to Siqueiros was to be instrumental in getting Kadish New York with the family came with the conviction and Guston wall space in the University of Micho­ that an artist should be in the eye of the storm. acan, Morelia, Mexico. An article in Timt Magaz.int Besides, he had many friends who would open doors featured them as the most promising young painters for him. Bill Hayter's , where he worked, in America. moved from to New York, and Reuben After their exhibition at Stanley Rose Gallery, I continued to print his work as well as printing Miro's saw Reuben and Philip infrequently. They had ended and Pollock's etchings. Once settled in New York, their collaboration, Philip to go to New York and Reuben and decided to look for a greater success and Reuben to execute a mural com­ summer place. Since some of their friends had moved mission for the W.P.A. on the subject of alchemy. to East Hampton, within commuting distance, they The Depression was in full swing. War rumblings went to look around. In the Springs, close to East were heard in . Hampton, they found cheap fishermen's shacks. On With the slow demise of the Project, beginning in one visit to Harold Rosenberg's (the art critic who 1940 Reuben would work as a coppersmith for the coined the term Action for what would be Bethlehem Steel Yards on the docks of San Francisco. known as Abstract Expressionism) in the Springs, By 1936 Reuben had criss-crossed America from San Jackson and Reuben repaired Rosenberg's caved-in Francisco to New York many times and had felt the roof. Jackson had bought an old house with a mag­ rapid pulse and energy awakening in art as from a nificent view of Accabonac harbor. It was quiet and long sleep. The art world of America was opening its beautiful and spoke of other times. Reuben had no eyes. Young talents, Isamu Noguchi, Jackson Pollock, such luck: with a family of five he needed larger space Arshile Gorky, , and those not yet on and went elsewhere to look. the horizon, confirmed what he had already felt - After a time, Kadish found a place in Vernon, New New York was becoming the seedbed for a cultural Jersey, sixty miles from New York. It was dairy farm revival. On one of his visits, Reuben had met the country, and he bought a dairy farm. He became a artist immigrants from Europe who were exerting dairy farmer for ten years. Why a dairy farmer? I an influence on the New York scene. have not been able to get a reasonable answer from The few years of development under the sponsor­ him that explains why he derailed his talent during ship of the government began to bear fruit. The these years, why he dropped completely out of the artists had found their own voice-an uninterrupted art world. period of painting had consolidated their position as a Had Reuben, after so many years as a painter, lost force on the cultural map of the country. A small, touch with himself and with the inner struggles that discerning public had followed its wake, broadening had given him so much joy and pain and so much the base for the artists to move in. The young, fulfillment 7 What could.take its place 7 It is my opin­ intense painters and sculptors were waiting in the ion that Reuben used the farm years to reconsider wings, talking-talking-drinking-drinking and paint­ his position. His drawings and had been ing in a frenzy of newly-found discovery. The sense based on late Renaissance form. His feeling for form of inferiority vis-a-vis Europe was slowly beginning was three-dimensional, and he had a natural affinity to fade. The stranglehold held by European artists for materials. Reuben's factory work during the war

ing• ing• of of itt itt hi 1tory 1tory and and myths, myths, the the colorful colorful frescoes frescoes

temples temples an d d monuments monuments alive alive with with snake snake pit pit writh ­

New New

York York

City City

aesthetic aesthetic lattes. lattes. The The epic epic lushness lushness of of Ind ian ian art, art, the the

H

erman erman Cherry, Cherry,

1990 1990

experiences experiences in in India India cenfirmed cenfirmed his his philosophical philosophical and and

mankind, mankind, the the pre-historic pre-historic earth earth goddess . . Kadish 's 's

The The female female figure figure assumes assumes the the "Da, "Da, metaphor metaphor of of N N

its its life life force . . They They become become ornaments ornaments of of raw raw beauty . .

scri p tural tural matter . . Clods Clods of of earth earth cling cling · like like leeches leeches t o o embraced embraced the the earth . .

been been d ragged ragged from from earth earth the the earth, earth, mother mother - who who bringing bringing became became with with them them 1tronger 1tronger each each time time he he

Some Some of of hit hit large large that that terra terra of of cot the the tas tas Greek Greek look look god god as as Antaeus Antaeus th If If ey ey had had - ton ton of of Gaea , , the the

milleniums milleniums pas t t that that collapses collapses Kadish's Kadish's need need time. time. and and love love of of the the earth earth are are not not unlike unlike

It It is is his his link link with with culture. culture. the the immediacy immediacy of of now now and and the the

in , g g magically magically like like a a growing growing receives receives plant plant the the yearbook yearbook into into a a living living from from image the the Department Department . . of of Agri­

the the archeology archeology of of the the keep keep subconscious, subconscious, his his hands hands out out the the figure figure of of the the sprout earth. earth. ­ To To this this day, day, he he still still

for for the the right right form form - which which while while their their sketching sketching friends friends in in became became clay, clay, digging digging beneficiaries. beneficiaries. He He cannot cannot

watched watched Reuben ' s s vegetables, vegetables, seeing, seeing, thinking thinking which which fingers fingers they they c anned anned probing probing for for the the winter winter and and of of

drawn drawn in in sensitive, sensitive, 1921, 1921, plowed plowed clumsy, clumsy, and and worked worked powerful. powerful. a a large large I I have have garden garden of of flowers flowers and and

remind remind one one of of the the series series Until Until of of recently, recently, hand hand studies studies Reuben Reuben by by Picauo Picauo and and hit hit wife, wife, Barbara, Barbara,

a a natural natural c raftsman , , had had found found his his metie r . . Hit Hit handt handt in in free free a a spontaneous spontaneous gallop . .

interim interim of of s ilence ilence had had reawakened reawakened old old loves. loves. R euben, euben, ties ties are are not not programmed programmed but but accepted . . The The juices juices run run

the the mother , , the the giver giver of of life, life, the the source source of of being . . The The tion tion where where m is takes takes can can be be utilized, utilized, where where J'O"Sibili­

tures . . Working Working in in clay clay was was like like touching touching earth . . was was It It medium medium of of monotype monotype itse lf lf demands demands a a chancy chancy execu­

In In Reuben Reuben 1950 1950 began began making making small small clay clay sculp­ only only come come with with a a mature, mature, fermented fermented vision. vision. The The

speak speak in in the the language language of of today. today. execution, execution, he he has has developed developed a a personal personal style style that that can can

ticated , , primal primal art art that that transcends transcends time, time, making making it it latest latest monotypes monotypes with with their their freedom freedom of of imagery imagery and and

beings . . In In hit hit own own myths, myths, Reuben Reuben has has built built a a sophis ­ like like drawings drawings while while w orking orking on on the the , murals, to to his his

There There is is an an intertwining intertwining of of animals animals and and human human his his world world had had stopped. stopped. From From hit hit earliest earliest Renaissance­

ture : : animals animals remain remain a a great great source source of of ima , gery . . , drawing, not not even even during during those those desert desert years years when when

my my youth . " " Flippant Flippant or or no t, t, they they relate relate to to his his sculp ­ and and is is one one of of his his first first loves. loves. Reuben Reuben never never stopped stopped

and and he he added added that that "horned "horned toads toads had had a a special special place place i . n n the the clay clay writhe writhe with with spontaneous spontaneous life. life. Drawing Drawing was was

me me (he (he had had raised raised them them for for food), food), "furry "furry animals," animals," earth earth as as he he can can get . . Hit Hit blunt blunt ca pable pable fingers fingers make make

flippantly, flippantly, "I "I like like the the warmth warmth of of pigs," pigs," slyly slyly looking looking at at Kadish '• '• work work in in clay clay k eeps eeps him him as as close close to to the the

had had not not picked picked up up on on it. it. Now Now I I did. did. He He answered answered me me generation generation of of sculptors sculptors and and painte rs. rs.

had had mentioned mentioned animals animals to to me me in in a a special special way, way, but but I I knowledge knowledge and and encouragement encouragement have have created created a a whole whole

share share a a great great portion portion of of myths myths and and history . . Reuben Reuben last last twenty twenty or or so so at at Cooper , Union, wh ere ere his his vast vast

in in other other co untries untries with with p a re-historic re-historic past, past, animals animals Kadish Kadish has has been been teaching teaching for for over over thirty thirty years, years, the the

ticity ticity diffi c ult ult for for a a sophisticated sophisticated man man to to achieve . . At At that that durable durable material material that that will will outlive outlive their their myths. myths.

ous ous nature nature co mbined mbined to to give give his his own own art art an an authen­ When When economics economics allow, allow, Reuben Reuben catt• catt• them them in in bronze, bronze,

bestiarie s s entwined entwined wit . h h myths myths and and his his own own sensu­ symbol symbol becomes becomes ab.traction . . They They are are our our dreams. dreams.

ship ship to to nature nature and and to to man, man, the the earth earth mothero mothero and and the the corrosive corrosive surface surface bubbl es es and and erupts . . What What was was a a

earthbound earthbound quality quality of of these these art art forms, forms, their their relation­ designs designs the the faces faces like like those those of of Maorian Maorian tribesmen; tribesmen;

religious - 1en1uous 1en1uous art art into into his his consciousneu . . The The endless endless seas seas - Reuben 's 's geological, geological, glacial glacial tattooing tattooing

Reuben's Reuben's experience experience in in India India had had etched etched the the mythic ­ their their unseeing unseeing eyes eyes forever forever seeking seeking the the horizon horizon of of

sculpto r r turn turn painter . . fears fears and and frailties. frailties. As As in in the the Eatter Eatter I sland sland heads heads -

David David Smith Smith and and Xavier Xavier Gonzales. Gonzales. It It is is rare rare t o o see see a a mental mental force, force, they they disturb disturb a . nd nd elevate, elevate, unveiling unveiling our our

tors tors s t art art as as painters . . I I will will mention mention two two of of note: note: series series of of oversized oversized clay clay head s . . Like Like all all art art of of monu­

curious curious fact fact that that I I have have noticed noticed - that that many many scu lp ­ In In recent recent years, years, Reuben Reuben has has been been working working on on a a

the the struggle struggle was was over, over, a a new new one one to to begin. begin. It It it it a a Architecture Architecture abounds abounds with with humanoid humanoid elements. elements.

self self fully fully t o o . . The The border border had had been been crossed; crossed; sequential sequential breasts breasts bursting bursting with with voluptuous voluptuous birth. birth.

would would give give up up farming farming permanently permanently to to devote devote him ­ acteristics. acteristics. bulir•. bulir•. fArlh fArlh fantasizes fantasizes Molhtr Molhtr 11, 11, a a series series of of

small small nude. nude. would would be be It It five five more more years years before before he he Homeric Homeric character, character, joins joins both both animal animal and and human human char­

broke broke the the mold mold and and made made his his first first terra terra cotta cotta - a a or or meld meld into into forms . . ]oc/UJ• ]oc/UJ• Queen Queen DJ , , of of Thebes, Thebes, a a

other other word1, word1, he he kept kept his his hand hand in. in. After After five five years years he he objects objects identifiable sometimes sometimes intrude intrude on on the the figure figure

spare spare time time Reuben Reuben worked worked on on some some drawings . . In In Australian Australian spiny spiny lizard . . Architecture , , animals, animals, un­

Dairy Dairy farming farming was was back-breaking back-breaking work , , but but i n n hi t t a a sacrificial sacrificial Mol«h Mol«h U, U, queen queen ii ii also also the the name name of of an an

ing ing the the war . . that that the the title title for for One One sculpture, sculpture, QNmo QNmo DArbuss, DArbuss, o{ o{

welder welder in in Schentttady Schentttady making making Sherman Sherman t . anks anks dur ­ conce pt pt of of birth birth and and rebirth . . It It it it inte re sting sting to to note note

Smith Smith alway• alway• 1po ke ke of of his his factory factory work work as as a a master master creative creative chords chords - the the female female figure figure as as a a hedonistic hedonistic

unknowingly unknowingly may may have have contributed contributed to to it . . David David and and sensuous sensuous sculpture sculpture struck struck his his archaeological archaeological and and

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