Tim Scott, “Liquefaction II”, 2018, plywood and card, laminated, 51 x 66 x75 cm
Towards a New Sculpture
As one arrives at old age, it becomes more and more apparent that what is of one’s time is – of one’s time; and that what is of the present is – of the present. If one asks what is new, original and fresh in the art of sculpture, the one belies much of the other, and never the twain shall meet! Of the thousands of new sculptures being made by hundreds of artists everywhere, what genuinely shows any spark of new meaning and new purpose? If one bypasses what Clement Greenberg called ‘Novelty Art’, the labelling as ‘sculpture’ of art objects whose prime function is devoted to a social, philosophical, political, amusing, sensational, literary or phenomenological intent, amongst many more; then what was previously understood as constituting ‘sculptural intent’ is deemed to be no longer relevant.
Of course, there are still today many practitioners in the age-old function of sculptural expression, depicting the vagaries of the human body. Sadly, none have matched the grand finale of that domain as exemplified by Rodin, Degas and Matisse. For better or for worse non-figuration of varying intensities has led the way to a ‘modern’ sculptural art form.
Art survives through patronage and great art requires great patronage. Today’s patronage is from the museum curator/gallery dealers and their clients, the collectors. The one is subject to financial restraint and both to the vagaries of fashion and, most importantly, journalism and media publicity. ‘Sculpture’ is now a label for trendiness and fashion, not of an art form dedicated to those values previously understood to be axiomatic.
The price of an unwanted dedication to old values has to be marginalisation. The confrontation of that with an all-pervading worship of the popularisation of art as entertainment, from which stems the verdict of that same dedication being out-of-date, and dismissed as irrelevant, is inimical to upholding those values that are seen as qualitatively necessary to retain from sculpture’s past by a small minority of practitioners in order to innovate.
What, then, is the prime motivation for continuing to attempt to move the history-based ‘classical’ line of ‘modern’ sculpture forward from the positions and achievements reached by the end of the twentieth century?