William Tucker – Figure Advancing
31 January21 June 2020
William Tucker, ‘William Tucker – Figure Advancing’, Installation view, Buchmann Galerie, 2020
William Tucker
Installation view
Buchmann Galerie
2020
William Tucker, ‘William Tucker – Figure Advancing’, Installation view, Buchmann Galerie, 2020
William Tucker
Installation view
Buchmann Galerie
2020
William Tucker, ‘Secret’, 2010
William Tucker
Secret, 2010
Bronze
138 (h) x 193 x 101 cm
54¼ (h) x 76 x 39¾ in
William Tucker, ‘Cave’, 2005
William Tucker
Cave, 2005
Bronze
144 (h) x 132 x 230 cm
56¾ (h) x 52 x 90½ in
William Tucker, ‘Emperor’, 2002
William Tucker
Emperor, 2002
Bronze
157 (h) x 199 x 122 cm
61¾ (h) x 78¼ x 48 in
William Tucker, ‘Porte VI (1973)’, 2020
William Tucker
Porte VI (1973), 2020
Mural Engraving
267 (h) x 463 x 6 cm
105 (h) x 182¼ x 2¼ in
William Tucker, ‘Detail of Cat’s Cradle IV (1971)’, 2020
William Tucker
Detail of Cat’s Cradle IV (1971), 2020
Mural Engraving
252 (h) x 600 x 6 cm
99¼ (h) x 236¼ x 2¼ in
William Tucker, ‘Detail of Cat’s Cradle IV (1971)’, 2020
William Tucker
Detail of Cat’s Cradle IV (1971), 2020
Mural Engraving
252 (h) x 600 x 6 cm
99¼ (h) x 236¼ x 2¼ in

The wall works, Cat’s Cradle IV (1971), 2020 and Porte VI (1973), 2020 consist of 6 cm deep and 6 cm (2¼ x 2¼ in) wide incisions in the wall, which, painted black, form a negative relief. The Mural Engravings refer to three series of abstract sculptures from the early 1970s, the groups Shuttler, 1970, Cat’s Cradle, 1971, and Porte from 1973, which, composed of linear elements, derive their power from the play of spatial illusions and analytically describe space. The Mural Engravings translate essential aspects of these historical works into two-dimensionality, thus updating their relevance.
William Tucker, ‘Cat’s Cradle IV (1971)’, 2020
William Tucker
Cat’s Cradle IV (1971), 2020
Mural Engraving
252 (h) x 600 x 6 cm
99¼ (h) x 236¼ x 2¼ in
William Tucker, ‘William Tucker – Figure Advancing’, Installation view, Buchmann Galerie, 2020
William Tucker
Installation view
Buchmann Galerie
2020
William Tucker, ‘William Tucker – Figure Advancing’, Installation view, Buchmann Galerie, 2020
William Tucker
Installation view
Buchmann Galerie
2020
William Tucker, ‘Figure Advancing’, 2018
William Tucker
Figure Advancing, 2018
Bronze
142 (h) x 190 x 129 cm
56 (h) x 74¾ x 50¾ in

William Tucker – Figure Advancing

31 Jan21 Jun 2020
Buchmann Galerie
Press release

Buchmann Galerie is pleased to announce the exhibition Figure Advancing by British-American sculptor William Tucker  (*1935 in Cairo, lives in Williamsburg, MA). 

 

In his fourth solo exhibition at the Buchmann Galerie, William Tucker realizes for the first time two monumental wall works, called Mural Engravings by the artist. The wall works are contrasted by three large-format bronzes, such as the work Figure Advancing, which was created in 2018 and is exhibited here for the first time.

 

The wall works, Cat's Cradle IV, 2019, and Porte VI, 2019, consist of 6 cm deep and 6 cm (2¼ x 2¼ in) wide incisions in the wall, which, painted black, form a negative relief. The Mural Engravings refer to three series of abstract sculptures from the early 1970s, the groups Shuttler, 1970, Cat's Cradle, 1971, and Porte from 1973, which, composed of linear elements, derive their power from the play of spatial illusions and analytically describe space. The Mural Engravings translate essential aspects of these historical works into two-dimensionality, thus updating their relevance.

 

The oscillation between two- and three-dimensionality of the Mural Engravings also breaks the viewer's expectations: from a distance, the works are perceived as wall drawings or wall paintings and seem to be flat. The real three-dimensionality and depth of the work only becomes apparent on closer inspection. The negative space of the works, the 6 cm deep engraving of the wall, creates remarkable plasticity and also supports the three-dimensionality of the drawing on the wall, which the viewer concedes an illusionistic space. As reduced drawings that create their plasticity and create a virtual negative space, the two Mural Engravings form the antithesis to the large fully-plastic bronzes in the exhibition Figure Advancing, 2018, Cave, 2005, and Secret, 2010.

 

These bronzes, which have been continuously advanced since the mid-1980s, oscillate between figure and pure form, preserving within themselves the delicate moment of transition from the inert, amorphous mass from which they are created, and moving towards the readable figure. The title-giving sculpture Figure Advancing from 2018 is one of the artist's most recent large-format works and is, in turn, more autonomously designed than the previous works, moving towards greater abstraction.

 

The development of William Tucker's bronzes since the 1980s was preceded by a fundamental break with his constructivist and minimalist practice, which secured the artist a place among radical and avant-garde artists from the early 1960s onwards. The exhibition now confidently unites his two fields of work and shows that the constructivist minimalist and anthropomorphic-figurative phases in William Tucker's extensive oeuvre were never mutually exclusive, but rather mutually dependent. Looking back on a rich body of work, the exhibition uses the new wall works to bridge the gap between the analytical approach of the artist's first phase of work, based on line, space, and body, and the current work, which takes on a new form in Figure Advancing.

 

William Tucker belonged to the influential circle of young British sculptors such as Philip King and Tim Scott in the 1970s. They were introduced as the 'New Generation' in the exhibition of the same name at the Whitechapel Art Gallery London in 1965 and provided decisive impulses for the development of abstract sculpture and the expansion of the concept of sculpture. During this time he also became known as a theoretician, critic and exhibition organizer. Tucker published the standard work on the history of the modern sculpture The Language of Sculpture in 1972 and published numerous reviews and essays in Studio International, the English counterpart of ARTFORUM.

 

Important works by the artist are represented in numerous international institutional and private collections, including the Solomon R. Guggenheim Museum, New York, the Hirshhorn Museum and Sculpture Garden, Washington, D.C., the Louisiana Museum of Modern Art, Humlebæk, The Margulies Collection, Miami, The Metropolitan Museum of Art, New York, The Museum of Modern Art, New York, the Rijksmuseum, Amsterdam, and the Tate Gallery, London.

 

 

 

Pressemitteilung

Die Buchmann Galerie freut sich, die Ausstellung Figure Advancing des britisch-amerikanischen Bildhauers William Tucker (*1935 in Cairo, lebt in Williamsburg, MA) zu präsentieren. 

 

In seiner vierten Einzelausstellung in der Buchmann Galerie realisiert William Tucker zum ersten Mal zwei monumentale Wandarbeiten, vom Künstler Mural Engravings (Wandgravuren) genannt. Den Wandarbeiten kontrastierend beigestellt sind drei grossformatige Bronzen, wie die Arbeit Figure Advancing, die 2018 entstanden ist und hier zum ersten Mal ausgestellt wird.

 

Die Wandarbeiten, Cat's Cradle IV, 2019 und Porte VI, 2019, bestehen aus 6 cm tiefen und 6 cm breiten Einschnitten in der Wand, welche schwarz gestrichen ein negatives Relief ausbilden. Die Mural Engravings beziehen sich auf drei Serien von abstrakten Skulpturen aus den frühen 1970er Jahren, den Gruppen Shuttler, 1970, Cat's Cradle, 1971, und Porte aus dem Jahr 1973. Diese Skulpturen, zusammengesetzt aus linearen Elementen, gewinnen Ihre Kraft aus dem Spiel der räumlichen Illusionen und umschreiben analytisch den Raum. Die Mural Engravings übersetzen wesentliche Aspekte dieser historischen Arbeiten in die Zweidimensionalität und aktualisieren damit ihre Relevanz.

 

Das Oszillieren zwischen der Zwei- und Dreidimensionalität bei den Mural Engravings bricht auch die Erwartungen des Betrachters: so werden die Arbeiten aus der Distanz als Wandzeichnung oder Wandmalerei wahrgenommen und wirken augenscheinlich flach. Die reale Dreidimensionalität und Tiefe der Arbeit erschliesst sich erst bei näherer Betrachtung. Der Negativraum der Arbeiten, die 6 cm tiefe Gravur der Wand, erzeugt eine bemerkenswerte Plastizität und unterstützt auch die Dreidimensionalität der Zeichnung auf der Wand, der der Betrachter einen illusionistischen Raum zugesteht. Als reduzierte Zeichnungen, die eine eigene Plastizität ausbilden und einen virtuellen Negativraum erzeugen, formen die beiden Mural Engravings den Gegenpol zu den grossen vollplastischen Bronzen in der Ausstellung Figure Advancing, 2018, Cave, 2005 und Secret, 2010.

 

Diese Bronzen, seit Mitte der 1980er Jahre kontinuierlich weiterentwickelt, changieren zwischen Figur und reiner Form, bewahren den heiklen Moment des Übergangs von der trägen, amorphen Masse, aus der sie geschaffen sind in sich, und bewegen sich hin zur lesbaren Figur. Die titelgebende Skulptur Figure Advancing aus dem Jahre 2018 gehört zu den jüngsten grossformatigen Werken des Künstlers und ist wiederum autonomer gestaltet als die vorangegangenen Werke, hin zu einer größeren Abstraktion.

 

Der Entwicklung von William Tuckers Bronzen seit den 1980er Jahren ging ein fundamentaler Bruch mit der konstruktivistischen und minimalistischen Praxis William Tuckers voraus, welche dem Künstler seit den frühen 1960er Jahren einen Platz unter den radikalen und avantgardistischen Künstlern sicherte. Die Ausstellung vereint nun souverän seine beiden Arbeitsfelder und zeigt, dass die konstruktivistisch-minimalistischen und anthropomorph-figürlichen Werkphasen in William Tuckers umfangreichen Werk sich niemals ausschlossen, sondern einander bedingten. Zurückblickend auf ein reiches Werk schliesst die Ausstellung mittels der neuen Wandarbeiten den Bogen von dem analytischen, von der Linie, dem Raum und dem Körper ausgehenden Ansatz der ersten Werkphase des Künstlers hin zu dem aktuellen Werk, das in Figure Advancing eine neue Ausprägung erfährt.

 

William Tucker zählte in den 1970er Jahren zu dem einflussreichen Kreis junger britischer Bildhauer wie Philip King oder Tim Scott, die als ‘New Generation’ in der gleichnamigen Ausstellung in der Whitechapel Art Gallery London 1965 vorgestellt wurden und entscheidende Impulse für die Entwicklung der abstrakten Skulptur und die Erweiterung des Skulpturbegriffes setzten. In dieser Zeit wurde er auch als Theoretiker, Kritiker und Ausstellungsmacher bekannt. Tucker veröffentlichte 1972 das Standardwerk zur Geschichte der modernen Skulptur The Language of Sculpture und publizierte zahlreiche Reviews und Essays in Studio International, dem englischen Gegenstück zu ARTFORUM.

 

Wesentliche Arbeiten des Künstlers sind in zahlreichen internationalen Institutionellen und privaten Sammlungen vertreten, u.a. im Solomon R. Guggenheim Museum, New York, dem Hirshhorn Museum and Sculpture Garden, Washington, D.C., dem Louisiana Museum of Modern Art, Humlebæk, The Margulies Collection, Miami, The Metropolitan Museum of Art, New York, The Museum of Modern Art, New York, dem Rijksmuseum, Amsterdam, und der Tate Gallery, London.

 

William Tucker

Born 1935 in Cairo, Egypt

Lives and works in Massachusetts, USA

Education

1959-1960 Studies at St. Martin’s College of Art and Design, London
1955-1958 Studies at University of Oxford, England

Grants and Awards

2011 Elected as honorary National Academician, National Academy Museum, New York
2010  Lifetime Achievement Award, International Sculpture Center, Hamilton
2009  Jack Goldhill Award for Sculpture, Royal Academy of Arts, London
1995  Rodin-Moore Memorial Prize, Second Fujisankei Biennale Hakone Open-Air Museum, Japan
1991  Sculpture Center Award for Distinction in Sculpture
1980 Guggenheim Fellowship

1968-1970

Gregory Fellowship in Sculpture, University of Leeds

Solo Exhibitions

2020
Buchmann Galerie, Berlin
2018
Böhm Chapel, Hürth, Germany
2017
Danese Corey, New York
Buchmann Galerie
2016
Kunstmuseum Winterthur (cat.)
2015
Museo de Bellas Artes de Bilbao (cat.)
Buchmann Galerie Berlin
2014
Buchmann Galerie, Agra
Pangolin, London
2013
Buchmann Galerie, Berlin
Waldfrieden Sculpture Park, Wuppertal
2012
Buchmann Galerie, Berlin
Gallery Paule Anglim, San Francisco
McKee Gallery, New York
The Margulies Collection, Miami
2010
Pangolin Gallery, London
2009
Gallery Paule Anglim, San Francisco
2008
McKee Gallery, New York
2006
DeCordova Sculpture Park and Museum, Lincoln
2005
McKee Gallery, New York
2004
Gallery Paule Anglim, San Francisco
2002
McKee Gallery, New York
New York Studio School, New York
2001
Tate Gallery, Liverpool
1998
Aberdeen Art Gallery, Aberdeen
1988
Storm King Art Centre, New York
1987
Tate Gallery, London

Group Exhibitions

2020
CUTOFF - Tony Cragg, Tatsuo Miyajima, Bettina Pousttchi, William Tucker, Buchmann Galerie, Berlin
2019
Bunte Steine, Georg Kolbe Museum, Berlin
2018
Sculptors' Maquettes, Pangolin, Chalford, UK
Black Hole. Art and materiality from Informal to Invisible., GAMeC, Bergamo
2017
Kaleidoscope: Colour and Sequence in 1960s British Art, Mead Gallery, Warwick Arts Center, Coventry, UK
New installation, Buchmann Galerie Agra / Lugano
Ark, Chester Cathedral, Chester
Objects are closer than they appear, Buchmann Galerie
Kaleidoscope: Colour and Sequence in 1960s British Art , Yorkshire Sculpture Park (YSP), Wakefield, UK
Rodin, Grand Palais, Paris (cat.)
Color is, Waddington Custot, London
2016
Zeichnung, Buchmann Galerie
Jubilee, Gallery Pangolin, Chalford
Summer Exhibition, Royal Academy of Arts, London
Sculpture at Pilane 2016, Pilane, SE
Boys’ Toys & Girls’ Pearls, galerie bob van orsouw, Zurich
2015
Figure, Buchmann Galerie Berlin
Harmony and Transition, Marta Herford
2013
The Mythic Figure, Schick Art Gallery, Skidmore College, Saratoga Springs, New York
2012
More than meets the eye, Buchmann Galerie, Berlin
2011
United Enemies - The Problem of Sculpture in Britain in the 1960s and 1970s, Henry Moore Institute, Leeds
2010
Seven British Artists In Milan 1965-1975, Austin/Desmond Fine Art, London
Crucible 2010, Crucible, Gloucester
Personal Identities/Contemporary Portraits, Sonoma University Art Gallery, Rohnert Park
2009
Sette inglesi a Milano, Galleria Milano, Milan
The Big Show 4, Silas Marder Gallery, Bridgehampton
After the Pedestal, the 5th Annual of Smaller Sculpture from the Region, The Sculpture Center, Cleveland
2008
New generation revisited: British sculpture from the sixties and seventies, New Art Centre, Salisbury
2007
Apropos, Galerie Claudia Delank, Cologne
Autumn Exhibition 2007, Gallery Pangolin, Chalford
Zeichnungen, Graphik und Objekte von Bildhauern II, Galerie Claudia Delank, Cologne
Summer Group Show, McKee Gallery, New York
Small Bodies, McKee Gallery, New York City
2006
Group Show, McKee Gallery, New York
60. Sixty Years of Sculpture in the Arts Council Collection, Yorkshire Sculpture Park, Wakefield
2005
Body Language, Gallery Pangolin, Chalford
Recent Modernist sculpture, Locks Gallery, Philadelphia
Summer Group Show, McKee Gallery, New York
Stroll on!, Musée d´art moderne et contemporain, Geneva
Private view: forty years on, Rocket, London
2004
The Tom Bendhem Collection, Ben Uri Gallery, The London Jewish Museum of Art, London
2002
Sterling Stuff, Gallery Pangolin, Chalford
Group Show, McKee Gallery, New York
Group Show, McKee Gallery, New York
2001
Garner Tullis, The Art of Collaboration, Tucson Museum of Art, Tucson
1999
Egg of Columbus?, Galerie Carla Stützer GmbH & Co.KG, Cologne
British Sculpture, Galerie Elisabeth & Klaus Thoman, Innsbruck
1996
L'œil du collectionneur, Musée d´art contemporain de Montréal, Montreal
1979
Contemporary Sculpture from Collection, Museum of Modern Art, New York
1975
The Condition of Sculpture, Hayward Gallery, London
1972
XXXVI. Venice Biennale
1969
New British Painting and Sculpture, Contemporary Arts Museum Houston, Houston
1968
documenta 4, Kassel
1966
Primary Structures: Younger American and British Sculpture, The Jewish Museum of New York, New York
1965
New Generation: Interim, Whitechapel Art Gallery, London
1961
II. Biennale de Paris, Biennale de Paris, Paris
Presentazione opere, Buchmann Galerie Agra / Lugano, Agra/Lugano

Selected Collections

Aberdeen Art Gallery, Scotland

Arkansas Art Center, Little Rock, AK

Art Gallery of New South Wales, Sydney, Australia

Arts Council of Great Britain, London

British Council, London

The British Museum, London

City of Bilbao, Spain

Contemporary Art Society, London

Florida International University, Miami, FL

Solomon R. Guggenheim Museum, New York

The Hakone Open-Air Museum, Tokyo, Japan

High Museum of Art, Atlanta, GA

Hirshhorn Museum and Sculpture Garden, Washington, D.C.

Kröller-Müller, Otterlo, The Netherlands

Louisiana Museum of Modern Art, Humlebæk, Denmark

The Margulies Collection, Miami

The Metropolitan Museum of Art, New York

The Museum of Fine Arts, Houston

The Museum of Modern Art, New York

National Gallery of Victoria, Melbourne, Australia

Rijksmuseum, Amsterdam, The Netherlands

Storm King Art Center, Mountainville, NY

Peter Stuyvesant Foundation, Newcastle-upon-Tyne, England

Tate Gallery, London

Victoria and Albert Museum, London

Walker Art Center, Minneapolis, MN

William Tucker

2018 Kosme de Barañano, William Tucker – Mass and Figure, Estudios Durero, 2018
2016 Dieter Schwarz, William Tucker, Kunstmuseum Winterthur, with essays by Julia Kelly, Dieter Schwarz and William Tucker, 2016
2015 Kosme de Barañano, Tucker: Masa y Figura, Museo de Bellas Artes de Bilbao, 2015

2009

Marzio, Peter C. Masterpieces From The Museum of Fine Arts, Houston: Director’s Choice. Yale University Press, New
Haven and London, 2009. Illustrated in color, p.189

2007

Joy Sleeman, The Sculpture of William Tucker, Lund Humphries, England, 2007.

2005

Sculpture from the Sheldon Memorial Art Gallery, edited by Karen O. Janovy, University of Nebraska Press, 2005,
pages 185-187.

2004

A Vision for 21st Century Sculpture, 10 year anniversary book, Sculpture at Goodwood, West Sussex, 2004.

The Sculptural Idea, James J. Kelly, Fourth Edition, Waveland Press, Inc., Long Grove, Illinois, 2004.

2003

Alan Windsor, British Sculptors of the Twentieth Century, Ashgate Publishing Limited, Aldershot, England, 2003.

1999

Michael Auping, House of Sculpture, Modern Art Museum of Fort Worth, TX, 1999, page 12, illustrated page 6.

 

Brooke Barrie, Contemporary Outdoor Sculpture, Rockport Publishers, Gloucester, MA, 1999, pages 152-153.

1998

Tony Birks, The Alchemy of Sculpture, Marston House, 1998.

1996

Irving Sandler, Art of the Postmodern Era: from the late 1960s to the Early 1990s, HarperCollins
Publishers, 1996.

1993

Sam Hunter & John Jacobus, Modern Art, Third Edition, Harry N. Abrams, Inc., New York, 1993, page 337.

1991

Daniel Wheeler, Art Since Mid Century 1945 to the Present, The Vendome Press, New York, 1991.

1985

Dore Ashton, American Art Since 1945, Oxford University Press, New York, 1985.

1984

The Seventh Dalhousie Drawing Exhibition: Actual Size, Dalhousie University, Halifax, Nova
Scotia, Canada, 1984.

John McEwen, Sculptors’ Drawings, The British Council, London 1984.

Frank Gettings, Drawings 1974-84, Hirshhorn Museum & Sculpture Garden, Washington, D.C., 1984.

Judith K. Collischan van Wagner, Reflections: New Conceptions of Nature, Hillwood Art Gallery, Long
Island University, Greenvale, NY, 1984.

1983

Artists Choose Artists II, CDS Gallery, New York, 1983.

Judith K. Collischan van Wagner, Monumental Drawings by Sculptors, Hillwood Art Gallery, Long
Island University, Greenvale, NY, 1983.

1981

Sandy Nairne & Nicholas Serota, ed., British Sculpture in the Twentieth Century, Whitechapel
Art Gallery, London, 1981.

 

John Elderfield, New Work on Paper I, Museum of Modern Art, New York, 1981.

 

Il Luogo della Forma: Nove Scultoi a Castelvecchio, Museo di Castelvecchio, Verona, 1981.

1980

Skulptur im 20. Jahrhundert, Wenkenpark Riehen, Basel, 1980.

1979

The Prospect Mountain Show: An Homage to David Smith, Lake George Arts Project, Lake George, New York, 1979.

1977

William Tucker, Sculptures, Arts Council of Great Britain, London, 1977-1978.

1972

The Condition of Sculpture: A Selection of Recent Sculpture by Younger British and Foreign Artists, Hayward
Gallery Arts, Council of Great Britain, London, 1972.

 

William Tucker, British Pavilion XXXVI Venice Biennale, 1972.

1967

Guggenheim International Exhibition 1967: Sculpture from Twenty Nations, Solomon R. Guggenheim Museum,
New York, 1967.

1966

Sculpture in the Open Air, Greater London Council: Battersea Park, London 1966.

 

 

Estudio Durero, 2018
Böhm Chapel, Hürth/Cologne, 2018
Kunstmuseum Winterthur, 2016
China National Art Photograph Publishing House, 2016
Buchmann Galerie Berlin, 2015