William Tucker: Meru

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William Tucker Meru

William Tucker Meru at The Art Show Park Avenue Armory Park Avenue / 67 St, New York Booth #B7 February 28 - March 4, 2018

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William Tucker Meru, 2017 cast bronze with patina 99 x 84 x 78 in.

Avebury prehistoric henge and stone circle in Wiltshire, England

To project an inner sense of the wholeness of the body has been the task of sculpture from the makers of Avebury and the Willendorf Venus to Degas and Rodin, and it still can be, in our time. Once I grasped this possibility some time ago I have been discarding, year by year, fragments of the visual and conceptual framework on which I once felt my sculpture depended ... until all that is left is the massive core.1

Sculpture is the language of the physical: and as with any living language, new thought finds form by stretching the medium itself, not by learning an alien language, or by attempting to invent a wholly new one.2

...the wholeness of the Venus of Willendorf is experienced internally, in the hand which holds and enfolds it...The relation of the whole object to the enclosing hand suggests a scale of relationships for sculpture from the pinch of finger and thumb through the grasp of the hand, the embrace of one or both arms, to the walked and implied embrace of the whole body around the object.3

The cover of the magazine First, edited by William Tucker at St. Martin’s School of Art, 1961. The image shows the artist’s hand holding a cast copy of the Venus of Willendorf.


Quotes by William Tucker 1 William Tucker: Recent Sculptures and Monotypes, 1987 2 The Condition of Sculpture’, in Gravity and Grace: the Changing Condition of Sculpture, 1965-1975, Arts Council of Great Britain, 1993, p. 35. 3 William Tucker, Horses, Rome: L’Isola, 1987, n.p. Casting photographs courtesy Blue Mountain Fine Art Foundry, Baker City, Oregon

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