The Major Artists Involved in Sculpture in the 1980s

One extremely strong influence in current sculpture during the 1980s was that of conceptual art. It has been noted that sculptors during the 1980s could be contrasted with people from the 1970s in "their preference for metaphor over symbol, and for poetic ellipsis instead of literary and discursive content, together with their ways of entwining visual and verbal allusions into a densely impacted image" (Cooke 50). A single American sculptor who exhibited this particular influence from the 1980s was Walter Martin. Martin's works involved interplays among objects which resulted in visual jokes. For example, his Snail, snail, come out of your hole/or else I am going to beat you black like a coal (1987) consists of an overturned piano propped against a pole, having a lengthy rope attached to the pole. Beneath the precariously perched piano is often a sheet of music. The image obviously duplicates that of the simple rabbit trap, except that Martin's structure is apparently developed to trap musicians instead of rabbits. One more sculpture by Walter Martin, Of bodies born up by water (1987), consists of the grandfather clock with its base partially "chopped down" as if by the axe of a lumberjack. An additional American sculptor within the 1980s exhibiting a strong taste for visual metaphor was Brower Hatcher. Hatcher's Starman (1985-1988) possesses a bronze face which is crashing into a pile of imitation stone. In the back on the bronze face, a mesh of aluminum wire streams upward into the sky. Intertwined

Some sculptors during the 1980s continued to create works inside the minimalist type in the 1960s. For example, Richard Serra, who was active inside 1960s and continued to jobs throughout the 1980s, is a genuine minimalist in that he "has always limited the quantity and quantity of sculptural points that he uses" (Saunders 152). A report within the late 1980s showed that Serra was continuing to work in this minimalist vein. Thus, it was noted that "he works with large square and round steel bars; flat planes; planes formed into sections of cylinders, cones and spheres; planes increasing in thickness until they ought to be considered wedge-shaped masses; and forged, roughly right-angled steel blocks" (152-153). An instance of Serra's minimalist sculpture can also be seen in Olson (Double Tilted Curves) (1985-1986). This jobs is really a large elliptical enclosure, created up of a couple of tall steel plates inside shape of parentheses (155). The 2 steel plates are extremely narrow (2 inches in depth), yet tall and long (10 feet by 36 feet) (153). One more interesting minimalist sculptor in the 1980s was the American Martin Puryear. His work, Timber's Turns (1987), is an abstract structure created of mahogany, cedar, and Douglas fir, which stands approximately seven feet high. Another notable minimalist work by Puryear is his Ampersand (1987-1988), a couple of huge granite columns which have been erected at the Minneapolis Sculpture Garden.

There were many other British sculptors during the 1980s whose work depended upon the influence of assemblage. These artists made "new objects from buyer and kitsch products and solutions and from nature's or manufacture's fragments" (Higgins 119). 1 these kinds of sculptor was Eric Bainbridge, whose Holemasters

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