New York
Marlborough Chelsea
Clement Meadmore, an Australian-born sculptor who moved to New York in 1963, is the kind of artist we don’t see much of anymore: a formalist who eschewed the myths of culture in favor of a purely objective art. Denying metaphor or any suggestion of the mystical or infinite, he stuck to his distinctively reductive aesthetic and made marvelous sculptures out of it. Friends with and influenced by the New York School painter Barnett Newman, Meadmore turned toward a more densely realized abstract language; his vocabulary, which can at first seem a bit narrow, actively represents exquisitely crafted volumetric forms—rectangular beams twisted into curved shapes. …see the entire review in the print version of October’s Sculpture magazine.
