gri_2003_m_46_b06_f10_005

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71902088 - saffyre13
72316014 - Molly_Carr
WINNER - 72326355 - Preacher357
72496282 - not-logged-in-c1a674219a5154eed7c4
72742068 - not-logged-in-d2509ca2762a09967f4e
73020240 - mdlincoln

71902088 - saffyre13

At the Heffer Gallery, Cambridge, there is an excellent
exhibition of modern British sculpture. Almost everything
on show is really recent: the only notable artist not repre-
sented by current work is Turnbull, whose bronzes are 1951.
Until recently many of the younger sculptors used biolog-
ical forms lower than the human: this is supposed to express
a feeling for life as something basic and pervasive.
There is a tendency now
away from late surrealist biomorphism towards more direct ver-
sions of the human image. Though a drawing of 1952 reminds
us of Reg Butler's mastery of the B.E.M.*; he shows a Girl in
shell bronze of this year which confirms the impression of
the "watchers' in the Prisoner maquette, that the human contour
is appearing.

Armitage is showing two single figures, both this year's.
The best of them, I think, is no. 2. It is part-totem, part
playing-card: nose, breasts, navel, hands pump out from both sides of the flat-
tish bronze plate. The nicety with which he retains evocative human fragments has an Italiante mannerist
sensuality about it: he never loses the buttocks' curves or
dimples.

Recently, Paolozzi has modeled several small heads: three
of them are at Cambridge, two in bronze, one is aluminium. They
are simple and rich, reminding me of the 14th century anatomy
*abbreviation used by science-fiction writers for bug-eyed-monster.

72316014 - Molly_Carr

At th Heffer Gallery, Cambridge, there is an excellent exhibition of modern British sculpture. Almost everything on show is really recent: the only notable artist not represented by current work is Tunrbull, whose bronzes are 1951.
Until recently many of the younger sculptors used biological forms lower than the human: this is supposed to express a feeling for life as something basic and pervasiv.
There is a tendency now away from late surealist biomorphism towards more direct versions of the human image. Though a drawing of 1952 reminds us of Reg Butler's mastery of the B.E.M. (abbreviation used by science-fiction writers for bug-eyed-monsters.) ; he shows a Girl in shell bronze of this year which confirms the impression of the 'watchers' in the Prisoner maquette, that the human contour is appearing.
Armitage i showing two single figures, both this year's. The best of them, I think, is no. 2. It is part-totem, part playing-card: nose, breats, navel, hands push out from both sides of the flatish bronze plate. The nicety with which he retains evocatice human fragments has an Italiante mannerist sensuality about it: he never loses the buttock's curves or dimples.
Recently, Pacclozzi has modelled several small heads: three of them are at Cambridge, two in bronze, one is aluminium. They are simple and rich, reminding me of the 14th century anatomy

WINNER - 72326355 - Preacher357

At the Heffer Gallery, Cambridge, there is an excellent
exhibition of modern British sculpture. Almost everything
on show is really recent: the only notable artist not repre-
sented by current work is Turnbull, whose bronzes are 1951.
Until recently many of the younger sculptors used biolog-
ical forms lower than the human: this is supposed to express
a feeling for life as something basic and pervasive.
There is a tendency now
away from late surrealist biomorphism towards more direct ver-
sions of the human image. Though a drawing of 1952 reminds
us of Reg Butler's mastery of the B.E.M.*, he shows a Girl in
shell bronze of this year which confirms the impression of
the 'watchers' in the Prisoner maquette, that the human contour
is appearing.
Armitage is showing two single figures, both this year's.
The best of them, I think, is no. 2. It is part-totem, part
playing-card: nose, breasts, navel, hands push out from both sides of the flat-
tish bronze plate. The nicety with which he
retains evocative human fragments has an Italiante mannerist
sensuality about it: he never loses the buttocks' curves or
dimples.
Recently, Paolozzi has modelled several small heads: three
of them are at Cambridge, two in bronze, one is aluminium. They
are simple and rich, reminding me of the 14th century anatomy
* abbreviation used by science-fiction writers for hug-eyed-
monster.

72496282 - not-logged-in-c1a674219a5154eed7c4

At the Heffer Gallery, Cambridge, there is an excellent exhibition of modern British sculpture. Almost everything on show is really recent: the only notable artist not represented by current work is Turnbull, whose bronzes are 1951.
Until recently many of the younger sculptors used biological forms lower than the human: this is supposed to express a feeling for life as something basic and pervasive. There is a tendency now away from late Surrealist biomorphism towards more direct versions of the human image. Though a drawing of 1952 reminds us of Reg Butler's mastery of the B.E.M. *, he shows a Girl in shell bronze of this year which confirms the impression of the 'watchers' in the Prisoner maquette, that the human contour is appearing.
Armitage is showing two single figures, both this year's. The best of them, I think, is no. 2. It is part-totem, part playing card: nose, breasts, navel, hands push out from both sides of the flattish bronze plate. The nicety with which he retains evocative human fragments has an Italianate mannerist sensuality about it: he never loses the buttocks' curve or dimples.
Recently, Paolozzi has modelled several small heads: three of them are at Cambridge, two in bronze, one in aluminium. They are simple and rich, reminding me of the 14th century anatomy
---------------------------------------------------------------------
*abbreviation used by science fiction writers for bug-eyed-monsters.

72742068 - not-logged-in-d2509ca2762a09967f4e

iuqfgyf0ahy90l9iuou9

73020240 - mdlincoln

At the Heffer Gallery, Cambridge, there is an excellent
exhibition of modern British sculpture. Almost everything
on show is really recent: the only notable artist not represented
by current work is Turnbull, whose bronzes are 1951.

Until recently many of the younger sculptors used biological
forms lower than the human: this is supposed to express
a feeling for life as something basic and pervasive.
There is a tendency now
away from late surrealist biomorphism towards more direct
versions of the human image. Though a drawing of 1952 reminds
us of Reg Bulter's mastery of the B.E.M.*, he shows a Girl in
shell bronze of this year which confirms the impression of
the 'watchers' in the Prisoner maquette, that the human contour
is appearing.

Armitage is showing two singe figures, both this year's.
The best of them, I think, is no. 2. It is part-totem, part
playing-card: nose, breasts, navel, hands push out from both sides of the flat-ish
bronze plate. The nicety with which he
retains evocative human fragments has an Italianate mannerist
sensuality about it: he never loses the buttocks' curves or
dimples.

Recently, Paolozzi has modelled several small heads: three
of them are at Cambridge, two in bronze, one is aluminum. they
are simple and rich, reminding me of the 14th century anatomy

* abbreviation used by science-fiction writers for bug-eyed-
monster.

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