Richard J. Williams

During the mid-1960s, sculptors in the USA and Europe simultaneously lost interest in making objects. Instead, under banners such as Anti-Form and Arte Povera, they began to present undifferentiated matter as sculpture: industrial felt, lead, dirt, vegetables, even live animals. Such heaps, arrays and environments seemed to mark the end of modern sculpture. They dominated sculptural debate at the time of their appearance, and they have since proved enormously influential on contemporary art.

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