September 17, 2004
Michael Auping on Alan Saret, 1979
While searching for something else altogether, I came across Michael Auping's introduction to Alan Saret's spring 1979 "Matrix" exhibition at the Berkeley Art Museum. Saret is a favorite of mine (see my review of his recent solo show at James Cohan Gallery here), so I thought I'd share. Here is an excerpt:
Saret's use of highly mutable materials to create non-static forms reflects relatively new sculptural methodology, which involves allowing the forming or distributing of materials in space to be a function of the natural properties of the chosen material. This attitude—reflected not only in Saret's wire pieces, but also in Lynda Benglis' poured latex works, Robert Morris' scattered and draped felt and Richard Serra's splashed lead—may be seen as an extension of the chance procedures of the Dadaists and, more recently, the contemporary composer John Cage. The intent of much of this recent sculpture is to discover a meaningful form within a given material rather than trying to fit the material to a preconceived form, as has traditionally been the case. In speaking about his work, Saret states, "The flexure of each material draws a line in space which corresponds identically to its physical properties. Nature, therefore, draws the final line in the art." (Undated notes by the artist).
Click here to read the whole thing.