For more than fifty years, Robert Grosvenor has been producing diverse and powerful abstract sculptures. Although his works may appear to be industrially fabricated, every contour is carefully crafted by hand. Grosvenor often forges relationships between two or more seemingly unrelated forms. In this work, for example, Grosvenor contrasts the surfaces of an aluminum screen and a bridgelike structure covered with a soft flocking. The aluminum element does not function as a barrier but offers a visual permeability: it is an object that can be looked at or through. Similarly, the shaped surface of the red structure, with its allusion to stone masonry, disguises the actual lightness of its construction. The negative space within each sculptural component—as well as the space between the two—results in an unusual tension. Grosvenor describes this sculpture as “two lines of poetry meeting, one in the foreground and one in the background.”
Art in Review; Robert Grosvenor
—New York Times (January 2003)
Art in Review; Robert Grosvenor
—New York Times (March 1996)
A Place in the World
—Art in America (September 1996; via findarticles.com)
Robert Grosvenor
—Artforum (January 1993; via findarticles.com)
In this video 2010 artist Robert Grosvenor introduces the process by which his sculpture, Untitled, 2009, was installed in the Whitney Biennial. View largerSee more 2010 videos