Max Bill: Einheit aus drei gleichen Volumen/Unit from three equal volumes, 1961-66. Marble. Collection Robert W. Sarnoff, New York. More informations: Dreher, Thomas: Konzeptuelle Kunst in Amerika und England zwischen 1963 und 1976. Frankfurt am Main 1992, p.267-269. PDF: http://dreher.netzliteratur.net/3_Konzeptkunst_Diss.pdf #maxbill #thomasdreher #abstractart #abstractartist #modernsculpture #modernsculptures #sculpture #concreteart #concreteartist #konkretekunst #konkretekünstler #swissart #swissartist #sixtiesart

LeWitt: Left: Horizontal Serial Piece (Open Geometric Structre) # III, 1990. Painted wood. Right (and the two following illustrations): Complex Form #8, 1988. Painted wood. Exhibited at Museum Villa Stuck, Munich 1993. More informations: Dreher, Thomas: Sol LeWitt: Structures 1962-1993. In: Kritik. Contemporary Art Munich. Nr.3/1993, p.26-32. Internet: https://dreher.netzliteratur.net/3_Konzeptkunst_SolLeWitt2.html #sollewitt #minimalart #minimalartist #conceptart #conceptualart #modernsculpture #postmodernsculpture #villastuck

Barnett Newman: Here III, 1965-1966.
Stainless and Cor-Ten steel. Raymond and Patsy Nasher Collection, Nasher Sculpture Center, Dallas, TX. Informations in: Thomas Dreher: Peter Weibel: Polykontexturalität in reaktiver Medienkunst. Das Duoversum Raumbild-Bildraum und die Pluralisierung der Bildräume, p.53. PDF: https://dreher.netzliteratur.net/4_Medienkunst_Weibel.pdf
#Sculpture #BarnettNewman #abstractexpressionism #abstractart #abstractexpressionismartist #sculptureart #modernsculpture #modernsculptureartist

Archive: ‘#modernsculpture if I might be so bold, began more than one hundred years ago with a concern with what it called ‘the truth to material’. The sculptors role was to imbue an inanimate and silent material into something more than itself, to grant that material a voice and with that present its truth. The artist should offer as little intervention as is possible, so it was said. Stone should look like stone and the sculptor should allow its ‘stoniness’ to shine through. This view however is very old-fashioned nowadays and contemporary sculptors like Nikou respects the fact that objects and materials already have a truth long before the sculptor intervened. The act of sculpting doesn’t provide truth to the material, the material already has it; from ‘truth to material’ to ‘the material of truth.’ Nikou tries to present to us that truth that respects the voices of the materials. The languages of objects are sometimes funny, sometimes sad. That is the truth of them.’ #sculpture