© 2010 Lloyd Hamrol


By Peter Frank

Some of our best sculptors have all but disappeared from our galleries and museums. Their successes have not so much destroyed them as derailed them, shunting their invention and production out of mainstream artistic discourse and into the realm of “public art” – a realm where imagination is challenged so formidably by exigency, and where responses to that challenge can be so handsomely rewarded, that the desolate struggles of the studio are all but left behind. Sooner or later, however, most of the sculptors who so intrigued us two or three decades ago, and whose success then attracted the attention of architects and consultants and cultural commissioners, return to the context of art itself, wanting to explore ideas and methods finally more appropriate to the intimacy of the studio than to the public arena. Many of these artists, we are gratified to find, are deft enough to maintain their involvement with the public sphere while scratching their experimental itch....

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