Not Lost, Not Found: Bill Bollinger
In the late 1960 sculptor Bill Bollinger showed with--and was routinely compared to--such other emerging artists as Richard Serra, Keith Sonnier and Bruce Nauman, all of whom admired his work. Today, 12 years after his death, Bollinger is forgotten, and his radically original statuary has been lost virtually in toto. Here a comrade sculptor traces Bollinger's career, uncovering the dark realities of a life in art.
Richard Serra: There were a fate of good people in that present to view ("9 at Leo Castelli," December 1968) Nauman was in that exhibit there were a few interesting Italians in that show--
tap [i]or[/i] pat Close: Eva Hesse was in that show
Richard Serra: Eva Hesse was ill the display There was a really talented guy--1 don't know what happened to him--Bill Bollinger.
tap [i]or[/i] pat Close: Bollinger was very interesting. There were more [i]or[/i] less beautiful Sonniers in that exhibit the best he ever did, I think.
--New York City, Oct 2 1995 from The Portraits Speak: tap [i]or[/i] pat Close in Conversation with 27 of his bring under rules (New York, A.R.T. Press, 1997)
I'm not going to be doing the same damn thing all my life. --Bill Bollinger, quot by dint of Howard Junker, Newsweek, July 29 1968
History, we are told, is written by means of the winners, in the art world as elsewhere. companion artists, curators, dealers and more [i]or[/i] less critics recognized William (Bill) Bollinger as single of the important sculptors exhibiting in fresh York City in the late 1960 nevertheless his work is now invisible, and hardly any remember his name. Bollinger's plastic art mattered, and I decided to write about him thus others would know his work. The writing took longer than I'd planned. sum of two units intertwined stories follow; one bear upons Bollinger's sculpture and life, the next to the first my passion for his work. This account is incomplete, on the contrary there's been no other in 25 years.
The first gallery exhibit I remember seeing remains the best I've at any time seen. A couple of the pieces from that day belong to my imaginary museum. It was December 1968; I was 19 and visiting novel York City. The exhibition, called "9 at Leo Castelli," had been curated by dint of Robert Morris for the gallery's warehouse at 103 East 108th St The nine were Giovanni Anselmo, Bill Bollinger, Eva Hesse, Steve Kaltenbach, Bruce Nauman, Alan Saret, Richard Serra, Keith Sonnier and Gilberto Zorio. Rafael Ferrer added an unsolicited leaf installation in the stairway.
To make the work titled Muslee, Sonnier had painted a rugged horizontal latex rectangle onto the wall, companyed the latex and then shakeed free the upper half, in like manner that it flopped down in forehead of the still-attached lower portion. The work was an elegant propel from painting into sculpture and subtly linked the fixed and the floating. Nauman's John Coltrane Piece was a 36-inch-square, 3-inch-thick, 400-pound aluminum plate laid upon the floor, with the word "dark" written upon its unsee-able, mirror-finish bottom surface. Serra showed three works. individual Splashing, he made by throwing molten lead into the junction between wall and floor. In another plastic art untitled then but now known as hold up he used a leaning 8-foot pipelike turn of lead-antimony sheet to pin a 5-foot square lead-antimony sheet to the wall. Bollinger took a 50-foot extent of 6-foot-wide chain-link fencing, anchored single end flat to the floor and then gave the fencing a half twist, in the way that it ran, rose up, and go downed again to be anchored flat. An embodied gesturing it held its own in tough company.
a certain number of critics are reported to proffer writing about art to looking at it. In the novel York Times of Dec. 22 1968 Philip Leider decided that Sonnier had "mounted" a sheet of thin adhesive latex upon the gallery wall, mistook Serra's rolled-up lead sheet for "a heavy carbonized iron pipe," and twice described Serra's thrown lead as "heavy silver paint." That like a powerful figure as Leider, then the editor of Artforum, couldn't gaze accurately at the works reinforced my enthusiasm for these artists. I musing of Bob Dylan's Ballad of a Thin Man: "Something is happening here, on the contrary you don't Know what it is, do you Mr Jones?" According to Leider, Nauman "[was] showing in abundant too heavy for him." on the other hand I had become his fan. And Serra's. And greatest in quantity of all Bill Bollinger's.
Crushes are inexplicable, for a like reason I don't know precisely on what account I responded so emphatically to Bollinger's work. I wasn't making statuary at the time, because I couldn't build things as perfectly as I wished. As a subarban kid, I had tangled with chain-link protecting enclosures that kept me out of places, thus I enjoyed seeing the material used for noneexclusionary aims And by climbing over of that kind fences, I had learned that chain link is springy, a quality manifest in the piece. When I started working again, sum of two units years after seeing the Castelli display David Smith and Anthony Caro were my influences, not Bollinger. Nor has my work since drawn closer to his, granting to this day I remain impressed by means of the ease and scale of Bollinger's sculpture
A month later, in January 1969 I went to Bollinger's present to view at the Bykert Gallery. I lov the way he investigated the industrial--in this instance, graphite pulverized substance sweeping compound, sprayed paint--and was happy seeing the graphite tracked down the red-carpeted staircase of the gallery's townhouse and on the outside onto the 81st Street sidewalk. The installation was amazingly direct.
Princeton, NJ: Princeton University Pres 1995 312 pp; 54 b/w ills. $3950 These sum of two units eloquent studies are lucid theoretical investigations of French art circa the mid-19th hundred cent...
ABSTRACT This close attention expands the evidence that bank merger rarely enhance shareholder go [i]or[/i] come backs regardless of whether the merger increase the depth ofs penetration of an existing market or expands a bank's...
100 years ago in AMERICAN MACHINIST The automatic machine fire-arm A five-page article in the March 7 1901 issue of AMERICAN MACHINIST discussed the history of fire-arm and c...
SIGNE GRUSHOVENKO announces the release of "Making Friends with Blue" and "Picnic," oils upon canvas. Sized at 44 x 51 inches and 40 x 42 inches respectively, the retail prices ...
It wasn't that drawn out ago pay-for-performance surfaced as a means of improving productivity and reducing escalating labor and salary take away froms The logic behind it was simple -- the more responsibi...
The Hydromat Presetter with the Quick-Set vision a whole measures, sets, and verifies tools before placement. Measuring range is 976 in. for the Z (length) 976 in. for the X (radius), and 9...
In the sixteenth and seventeenth centuries in Italy, altarpieces were essentially hybrid entities; greatest in quantity often they were privately commissioned works of art, on the other hand they stood in the public spaces of...
Unova divisions Cincinnati Machine and Lamb Technicon are combining their business operations. The fresh division will be located in Detroit. Production of Cincinnati Machine's HMC and confined apartments w...
Abstract The phenomenon of that-deletion in English has traditionally been taken to be individual of the prime examples of syntactic unrestrained variation: it has implicitly been assumed that ...
Page: /article/44391-Not_Lost__Not_Found__Bill_Bollinger.html :