gri_2003_m_46_b06_f10_006
- Max. dissimilarity: 0.044
- Mean dissimilarity: 0.023
- Image votes: 0.0
Transcribers
- 71888176 - jmfahne
- WINNER - 72041487 - ethomson
- 72068255 - Preacher357
- 72404953 - Infinicorn
- 72597390 - jesseytucker
- 72909226 - glt
71888176 - jmfahne
CAMBRIDGE TWOin the Parallel of Life and Are at the I.C.A. They suggest, also, in their comfortable human scale, perfectly adjusted to the hand, rolls from the bakery. There is no suggestion of the shrunken human head about them. The human image may be returning in modern sculpture, but only in certain forms and situations. Footballers have been replacing unknown political prisoners lately. Geoffrey Clearke's competition piece is on view at Heffers. It is a real curiosity - a half-circle of fire-irons, which look like a maddening, up-to-date version of one of those games of football in amusement arcades, with robot players who kick when you jerk a handle. Only Clarke's sculpture has no handle. Apart from these and other young sculptors, Moore and Hep=worth are represented. Moore is showing one of those rootless, panicky experiments which have occupied him lately. A bronze Mother and Child (1952) reminds one of Lipchitz, especially in the transformation of the baby into something like a hungry guitar. Such a transformation of cubism is stale now. Hepworth, unlike Moore, has continued developing logically, but in her way she, too, is disappointing: her Small Stone with Strings (1951-1952) is mature but stereotyped. Lawrence Alloway.
WINNER - 72041487 - ethomson
CAMBRIDGE TWOin the Parallel of Life and Art at the I.C.A. They suggest,
also, in their comfortable human scale, perfectly adjusted to
the hand, rolls from the bakery. There is no suggestion of
the shrunken human head about them.
The human image may be returning in modern sculpture, but
only in certain forms and situations. Footballers have been
replacing unknown political prisoners lately. Geoffrey Clearke's
competition piece is on view at Heffers. It is a real curiosity -
a half-circle of fire-irons, which look like a maddening, up-to-
date version of one of those games of football in amusement
arcades, with robot players who kick when you jerk a handle.
Only Clarke's sculpture has no handle.
Apart from these and other young sculptors, Moore and Hep-
worth are represented. Moore is showing one of those rootless,
panicky experiments which have occupied him lately. A bronze
Mother and Child (1952) reminds one of Lipchitz, especially in
the transformation of the baby into something like a hungry guitar.
Such a transformation of cubism is stale now. Hepworth, unlike
Moore, has continued developing logically, but in her way she, too,
is disappointing: her Small Stone with Strings (1951-52) is
mature but stereotyped.
Lawrence Alloway.
72068255 - Preacher357
CAMBRIDGE TWOin the Parallel of Life and Art at the I.C.A. They suggest,
also, in t)heir comfortable human scale, perfectly adjusted to
the hand, rolls from the bakery. There is no suggestion of
the shrunken human head about them.
The human image may be returning in modern sculpture, but
only in certain forms and situations. Footballers have been
replacing unknown political prisoners lately. Geoffrey Clearke's
competition piece is on view at Heffers. It is a real curiosity -
a half-circle of fire-irons, which look like a maddening, up-to-
date version of one of these games of football in amusement
arcades, with robot players who kick when you jerk a handle.
Only Clarke's sculpture has no handle.
Apart from these and other young sculptors, Moore and Hep-
worth are represented. Moore is showing one of those rootless,
panicky experiments which have occupied him lately. A bronze
Mother and Child (1952) reminds on of Lipchitz, especially in
the transformation of the baby into something like a hungry guitar.
Such a transformation of cubism is stale now. Hepworth, unlike
Moore, has continued developing logically, but in her way she, too,
is disappointing: her Small Stone with Strings (1951-52) is
mature but sterotyped.
Lawrence Alloway.
72404953 - Infinicorn
CAMBRIDGE TWOin the Parallel of Life and Art at the I.C.A. They suggest,
also, in their comfortable human scale, perfectly adjusted to
the hand, rolls from the bakery. There is no suggestion of
the shrunken human head about them.
The human image may be returning in modern sculpture, but
only in certain forms and situations. Footballers have been
replacing unknown political prisoners lately. Geoffrey Clearke's
competition piece is on view at Heffers. It is a real curiosity -
a half-circle of fire-irons, which look like a maddening, up-to-
date version of one of those games of football in amusement
arcades, with robot players who kick when you jerk a handle.
Only Clarke's sculpture has no handle.
Apart from these and other young sculptors, Moore and Hep-
worth are represented. Moore is showing one of those rootless,
panicky experiments which have occupied him lately. A bronze
Mother and Child (1952) reminds one of Lipchitz, especially in
the transformation of the baby into something like a hungry guitar.
Such a transformation of cubism is stale now. Hepworth, unlike
Moore, has continued developing logically, but in her way she, too,
is disappointing: her Small Stone with Strings (1951-52) is
mature but stereotyped.
Lawrence Alloway.
72597390 - jesseytucker
CAMBRIDGE TWOin the Parallel of Life and Art at the ICA. They suggest,
also, in their comfortable human scale, perfectly adjusted to
the hand, rolls from the bakery. There is no suggestion of
the shrunken human head about the.
The human image may be returning in modern sculpture, but
only in certain forms and situations. Footballers have been
replacing unknown political prisoners latelry. Geoffrey Clearke's
competition piece is on view at Heffers. It is a real curiostiy--
a half-circle of fire-irons, which look like a maddening, up-to-
date version of one of those games of football in amusement
arcades, with robot players who kick when you jerk a handle.
Only Clarke's sculpture has no handle.
Apart from these and other young sculptors, Moore and Hep-
worth are represented. Moore is showing one of those rootless,
panicky experiments which have occupied him lately. A bronze
Mother and Child (1952) reminds one of Lipchitz, especially in
the transformation of the baby into something like a hungry guitar.
Such a transformation of cubism is stale now. Hepworth, unlike
Moore, has continued developing logically, but in her way she, too,
is disappointing: her Small Stone with Strings (1951-52) is
mature but stereotyped.
Lawrence Alloway
72909226 - glt
CAMBRIDGE TWOin the Parallel of Life and Art at the I.C.A. They suggest, also, in their comfortable human scale, perfectly adjusted to the hand, rolls from the bakery. There is no suggestion of the shrunken human head about them.
The human image may be returning in modern sculpture, but only in certain forms and situations.
Footballers have been replacing unknown political prisoners lately. Geoffrey Clarke's competition piece is on view at Heffers. It is a real curiosity - a half-circle of fire-irons, which look like a maddening, up-to-date version of one of those games of football in amusement arcades, with robot players who kick when you jerk a handle. Only Clarke's sculpture has no handle.
Apart from these and other young sculptors, Moore and Hepworth are represented. Moore is showing one of those rootless, panicky experiments which have occupied him lately. A bronze Mother and Child (1952) reminds one of Lipschitz, especially in the transformation of the baby into something like a hungry guitar. Such a transformation of cubism is stale now. Hepworth, unlike Moore, has continued developing logically, but in her way she, too, is disappointing: her Small Stone with Strings (1951-52) is mature but stereotyped.
Lawrence Alloway.