New Generation Sculpture
Tate Britain, London, UK
Until 4 November 2018
After spending nearly three weeks in Spain, I’ve finally returned to London—hence my recent quiet spell here. I’d like to highlight one of Tate Britain’s displays running until early November: “New Generation Sculpture.” This presentation focuses on a group of artists who, in the 1960s, embraced a radically modern language in sculpture. Turning away from the traditional disciplines of carving and modelling, and from conventional materials such as stone, clay, wood, or bronze, these artists adopted contemporary industrial materials including fibreglass and plastic sheeting. Their work was predominantly abstract rather than figurative, signalling a decisive shift in sculptural practice.
Many of the artists featured first came to public attention through The New Generation series at the Whitechapel Gallery during the 1960s. The second of these exhibitions, held in spring 1965, showcased David Annesley, Michael Bolus, Phillip King, Tim Scott, William Tucker and Isaac Witkin. All had studied under Anthony Caro at St Martin’s School of Art, where he encouraged experimentation with new materials and urged students to present their works directly on the floor, dispensing with the traditional plinth.
Among the works on view at Tate Britain, the piece that resonated with me most was Phillip King’s Tra-La-La (1963), with which I felt an almost playful sense of immersion.
King began working with fibreglass in the early 1960s, intrigued by the possibilities the material offered: new forms, new surfaces, and a completely different sculptural language. Equally important to him was the communicative power of colour. To determine the final hue of Tra-La-La, he tested more than four hundred coloured paper swatches affixed directly to the sculpture—a remarkable testament to his meticulous process.
The Art Blueberry next to Phillip King’s Tra-La-La (1963).
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