You would not learn from this show (curated by the sculptor Keith Wilson and Penelope Curtis, director of Tate Britain) anything about the Geometry of Fear or the rise of installation art. There's no pop and not much advanced conceptualism. And if that suggests a bias away from Martin Creed, say, towards carving, casting or traditional craftsmanship, then bear in mind that all sorts of relevant candidates, from GF Watts to William Tucker to the Chapman Brothers, are also excluded.
Julia Kelly has written on surrealism, particularly so-called ‘ethnographic surrealism’, as well as on the Bureau of Surrealist Research, surrealist found objects and assemblage, and has recently edited a volume of essays (with Anna Dezeuze) on the legacies of the surrealist practice of photographing found objects in contemporary art. She has published on the work of twentieth-century sculptors, including Alberto Giacometti, Henry Moore, Joseph Cornell and Paule Vézelay. She has also worked with and written on contemporary artists, including Mark Dion, Bill Woodrow, William Tucker, Nick Ervinck and Kathy Dalwood. A volume of collected writings by contemporary sculptors, and of the writings of Tony Cragg, are both forthcoming in collaboration with Jon Wood.
We cannot begin to understand Rodin without looking back a generation, to an outpouring of beautifully nuanced thinking and writing about his work by artists, critics, and scholars. Albert Elsen’s monograph on Rodin was published in 1963—significantly, by the Museum of Modern Art, at the time of a major retrospective. For over a decade after that there appeared a group of books on modern sculpture that have still not been superseded—and each begins with Rodin or at least celebrates him as a seminal figure. These include the critic Herbert Read’s , the historian Rosalind Krauss’s , the sculptor William Tucker’s , as well as by the sculptor Jack Burnham and by the historian Robert Goldwater.
Born: 1912, New York City. Education: City College of New York, B.A. 1934; Ossip Zadkine, Paris, 1951-52. Major Awards: National Foundation of the Arts Award, 1966. Major Exhibition: Joslyn Art Museum, Omaha, NE, catalogue essays by Holliday T. Day, Irving Ssandler and Brad Davis. Publication: Amy Goldin, “The Sculpture of George Sugarman,” Arts, June 1966. Lives: New York City.
William Tucker, Untitled, Betty Winkler, X Press, N.Y., NY, 1986.
Tucker, William; Forge, Andrew (Essay by) ..
Born: 1935, Cairo, Egypt. Education: Oxford University, England, 1955-58; Central School of Art and Design, St. Margin’s School of Art, London, 1959-60. Major Awards: Guggenheim Fellowship, 1980. Major Exhibition: Neuberger Museum, S.U.N.Y Purchase, 1985. Publication: Matti Megged, “The Sculpture of William Tucker,” Arts, September 1982. Lives: New York City.
William Tucker Sculpture and Drawing
William Tucker was born in Cairo in 1935 and came to England when his family returned in 1937. He studied history at Oxford University, 1955–58 and sculpture at the Central Saint Martins College of Art and Design, London, 1959–60. Having moved to the USA in 1977, William Tucker continues to live and practise there today.
Tucker’s work has been recognised by various awards, including the Sculpture Center, New York award for Distinction in Sculpture, 1991; the Rodin– Moore Memorial Prize; Second Fujisankei Biennale, Japan, 1995; the annual award from the New York Studio School, 1999; the RA Summer Exhibition Sculpture Prize, 2009, and the International Sculpture Center Lifetime Achievement Award, 2010.
Tucker was awarded the Sainsbury Scholarship in 1961 and the Peter Stuyvesant Travel Bursary in 1965. He spent two years as Gregory Fellow at Leeds University Fine Arts Department, 1968–70 and represented Britain at the 1972 Venice Biennale.
Tucker is also a writer and in 1974 published The Language of Sculpture. Following publication of the book, he was invited to curate the exhibition The Condition of Sculpture at the Hayward Gallery, London, in 1975, for which he wrote the catalogue essay. Both the book and the show proved to be landmarks in the development of a certain tradition of British sculpture.
William Tucker's early sculptures were constructed out of steel and wood and were assembled and altered into abstract configurations in largely geometric form. Such compositions were later cast in plaster and concrete as he became concerned with weight and gravity and the potential defiance of these states, which became an increasingly important point of resistance in his work. In the early eighties Tucker moved his studio to upstate New York and started to work in plaster on a scale directly related to the human figure. Cast in bronze, these sculptures were shown with earlier steel and wood constructions. “I see the role of contemporary sculpture,” Tucker wrote in 1998, “as preserving and protecting the source of mystery, of the unknown, in public life”. Tucker continues to work in plaster or bronze at a variety of scales and with progressively more reference to the human body, both in image and handling of the material.
William Tucker | Jesus College in the University of …
Records from 1623 and 1624 listed the African inhabitants of the colony as servants, not slaves. In the case of William Tucker, the first Black person born in the colonies, freedom was his bright right. He was son of "Antony and Isabell", a married couple from Angola who worked as indentured servants for Captain William Tucker whom he was named after. Yet, court records show that at least one African had been declared a slave by 1640; . He was an indentured servant who ran away along with two White indentured servants and he was sentenced by the governing council to lifelong servitude. This action is what officially marked the institution of slavery in Jamestown and the future .
Did it need to be physical? Is “modernist” sculpture still feasible? Lowe’s answer to both, then and now, must be a resounding yes. He is part of the legacy of constructed steel sculpture whose best known practitioner in America was David Smith and in Britain Sir Anthony Caro. But whilst Lowe admires Caro, who taught him at St Martin’s, the block-like nature of much of his work is perhaps closer to other teachers there - William Tucker and Philip King. In the 1970s, Tucker belonged to the highly influential circle of English sculptors that included Philip King and Tim Scott, who were presented as the ‘New Generation’ in the eponymous exhibition at London’s Whitechapel Art Gallery in 1965. This group had a decisive impact on the development of abstract sculpture and was largely instrumental in broadening the concept of sculpture. In 1966, William Tucker was invited to take part in the seminal exhibition Primary Structures at the Jewish Museum in New York, a decisive moment in American Minimal Art. During this period he also made a name for himself as a theoretician, critic and curator. In 1972, Tucker published The Language of Sculpture as well as reviews and essays in Studio International, the British counterpart of ARTFORUM. In 1975, he organised The Condition of Sculpture show at the Hayward Gallery in London. Sculptures by William Tucker can be seen in several collections, including the Tate Gallery in London, the Guggenheim Museum, the Museum of Modern Art New York, the Metropolitan Museum New York, the Nasher Sculpture Center Dallas and the Art Gallery of New South Wales in Sydney.