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Bulletin Oberlin College Spring 1968

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Bulletin Oberlin College Spring 1968 ALLEN MEMORIAL ART MUSEUM BULLETIN OBERLIN COLLEGE SPRING 1968 IS&* ALLEN MEMORIAL ART MUSEUM BULLETIN VOLUME XXV, NUMBER 3 SPRING 1968 Contents Three Young Americans: Krueger, Nauman, Saret by Ellen H. Johnson and Athena T. Spear . 93 Catalogue . 102 A Red-figured Eye-cup by Epiktetos and Pamphaios by Alix Mac Sweeney ..... 105 A Madonna Panel from the Circle of the Early Duccio by Bruce Cole 115 Accessions . 123 Printed three times a year by the Department of Art of Oberlin College, Oberlin, Ohio. $6.00 a year, this issue $2.00; mailed free to members of the Oberlin Friends of Art. North Syrian, Woman Nursing a Child, bronze, 12th century B.C. Oberlin Mrs. F. F. Prentiss Fund (ace. no. 68.25) PURCHASED IN HONOR OF EDWARD CAPPS, JR. This issue of the Allen Memorial Art Museum Bulletin is dedicated to Professor Edward Capps, Jr., on the occasion of his retirement from his long, devoted service to the Department of Art at Oberlin College. We rejoice in the fact that an article in this issue deals with an outstanding work of Greek vase painting, one of Ed Capps' main fields of interest. Among the ancient Greeks it was customary for the winner of a long and difficult race to dedicate his prize to the appropriate god. Ed Capps is certainly de­ serving of a like prize for the long and arduous course that he has run. We have no bronze tripod to award him, but we do wish to dedicate this sprightly figure in his name to whatever gods preside over archaeology and the history of art. J.R.S. 1 Bruce Nauman, From Hand to Mouth Collection Air. and Airs. Joseph Helman, St. Louis Three Young Americans: Krueger, Nauman, Saret The Three Young Americans exhibition this year, as in the past, has not been assembled to illustrate a point of view about contemporary art, but rather to present to our students and other visitors new work of quality and promise. This does not mean that one cannot find simi­ larities of concern and approach in the work of these individuals from which one can deduce general ideas that may be tested in examining other examples of current art. An analysis of the work of these three young artists may reveal particular tendencies that are emerging most forcefully at the present. Jack Krueger, Bruce Nauman and Alan Saret are all in their twen­ ties. Saret, the youngest of the three, is not yet with a dealer; Jack Krueger has recently become affiliated with the Leo Castelli Gallery where he is having his first one-man show late this spring. The Cali­ fornia artist, Bruce Nauman, having been included in such group exhi­ bitions as American Sculpture of the Sixties and having had one-man shows in Los Angeles in 1966 and in New York in March 1968, is the best known of the three. He is also the one most evidently rooted in the past. Some of his recent images, such as the untitled crossed arms below a knotted rope and his From Hand to Mouth (fig. 1), cast from parts of the body, contain the disquieting juxtapositions and fragmentation of Surrealism to which he may have come via the early work of Jasper Johns and Robert Morris. Nauman's wit, most obvious in his puns and literal titles, stems directly from Marcel Duchamp (cf. Nauman's Device for a Left Armpit, fig. 2 and Duchamp's Coiw de Chastete). To Nauman as to Duchamp, the idea is at least as important as the visual aspect of the work. In Six Inches of My Knee Extended to Six Feet and My Last Name Exaggerated Fourteen Times Vertically, the titles unquestionably add to the meaning and originality of the images. Both of these recent pieces provide a link between the Duchampian aspect of Nauman and his earlier abstract sculpture — long, soft, curiously organic strips of fiberglass or rubber that stand or hang frail and lonely. The haunting extension of such abstract works might prove that Nauman reached his more overtly surrealist imagery through his own personal development. Six Inches of My Knee . and My Last 93 2 Bruce Nauman, Device for a Left Armpit Collection David Whitney, New York Name . introduce an exaggerated elongation of known fragments of reality, which are altered beyond recognition through an unnatural stretching imposed upon them. One feels as though one is looking at the world through distorting mirrors, or as though one has been trans­ ferred to a strange planet where gravity and atmosphere obey different laws. In his isolating and transforming of bits of reality into super-reality, in his body imagery, and his soft almost elastic forms, Nauman, like many other young sculptors, reveals his kinship if not direct indebted­ ness to Claes Oldenburg. But Oldenburg's transformations are pri­ marily obtained through fantastic enlargement or through unexpected softening of hard objects; and the robust, overt sexuality of his imagery (as strongly present in his soft bathroom fixtures as in his knee piece) is of an order entirely different from the narcissistic, hothouse flavor of Nauman's body fragments. Also in contrast to Nauman's, Oldenburg's forms are substantial, sensuous volumes although often built of non­ structural or ephemeral materials. The fragility which distinguishes Nauman's art is due less to the impermanence of the materials than to the evanescent character of his subjects, a quality underlined in the very fact that a large part of his work consists of photographs of the fugitive and the formless. Catching the numerous possible "arrange­ ments" of a pile of flour spilled on his studio floor, or the greasy spots of parts of the body pressed against glass (cf. Yves Klein's Anthropo­ metries and Jasper Johns' Studies for Skin) evidences a sophisticated and playful sensitivity. Further characteristic of his involvement with the insubstantial is Nauman's special interest in the negative form. In Platform Made Up of Space Between Two Rectilinear Boxes on the Floor, the negative void has been promoted into a positive and even solid shape, a contradiction which he exploits. And the Neon Tem­ plates of the Left Side of My Body at Ten Inch Intervals form a mold of the body through consecutive outlines of transverse sections in ser­ pentine strings of neon. This piece, as indeed most of Nauman's work, is sculpture conceived as line — sculpture as linear continuity, a char­ acterization that could also apply to Krueger's work. In its grandeur of scale and concept, Krueger's sculpture might have come from Barnett Newman's painting. His rectilinear contours of thin steel tubes do not simply define the edges of transparent planes; they "declare space." Striding in gigantic steps, they brace the void and structure it in a uniquely dynamic way. While all the sections of tube are joined in straight-forward, right-angled relationships, the planes which they imply shift at subtly unpredictable angles to each other. 95 3 Jack Krueger, Down Around Courtesy Leo Castelli Gallery, New York 4 Jack Krueger, Appleton Courtesy Leo Castelli Gallerv, New York Moreover, the fourth edge of each "plane," if existent at all, contradicts the shape which the other three contours have led us to expect. A curve at the bottom of a hypothetical rectangle, for example, leaves the whole shape equivocal and half-open. This openness, which allows the struc­ tures to be interpreted both as planes and as continuous moving con­ tours, accounts for their pronounced ambiguity. And the strictly linear nature of the works, which often causes one to see their closest and most distant parts as exchanging positions in space, contributes further toward a fluctuating perception. Thus, with only a pipe drawing lines as it moves through space, Krueger transforms a gallery or a street into a startling illusion of interpenetrating, immaterial volumes. His pre­ paratory drawings aid the observer to grasp this new order of spatial ex­ istence. They are simple colored crayon diagrams which in turn take on fuller meaning after the sculptures themselves have been experi­ enced. Krueger had to adopt a personal, arbitrary kind of perspective to put down on paper his spatial visions. If Krueger's work suggests Newman's space, Saret's recalls Pol­ lock's. The multiple layers of wire screen, like the shimmering lines of paint, weave in and out, twisting and shifting, as they refuse to con­ fine space or define bodies occupying it. Space is conceived as motion — silvery filaments of energy, indeterminate in form. The sensations and images which both artists evoke are nature's. Saret is a sculptor of the country: the swaying fronds of a willow tree; the sun shining on grasses tossed by the wind; balls of seaweed tumbling with the foam along the shore. Everything in Saret's work is growing, given to change, in process of becoming. Even those few pieces where the free exultant movement is somewhat reined in are still quivering with life. Claes Oldenburg has been here too. The young Saret has completely freed the chicken-wire which gave its vitality to Oldenburg's early plaster pieces. Flexibility is the common denominator in Saret's choice of both form and material — wire mesh, felt, metal springs, soft plastic, wood- shavings, and predominantly chicken-wire. Some of the pieces, especial­ ly the ones with the square mesh, are permanently fastened into supple, curvilinear or rippling forms. But most are composed of simple units — thin cylinders, twisted shreds or long waving sheets of chicken-wire — piled randomly together and therefore of an indefinite and changeable form.
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