George Sugarman was an American artist working in the mediums of drawing, painting, and sculpture. Often described as controversial and forward-thinking, Sugarman's prolific body of work defies a definitive style. He pioneered the concepts of pedestal-free sculpture and is best known for his large-scale, vividly painted metal sculptures. His innovative approach to art-making lent his work a fresh, experimental approach and caused him to continually expand his creative focus. During his lifetime, he was dedicated to the well-being of young emerging artists, particularly those who embraced innovation and risk-taking in their work. In his will, Sugarman provided for the establishment of The George Sugarman Foundation Inc.
A graduate of the City College of New York. Sugarman served in the United States Navy from to , assigned to the Pacific theater. He resumed his education in Paris, studying with Cubist sculptor Ossip Zadkine. He returned to New York City in at the age of 39 to begin his career as an artist. In , Sugarman participated in the critically acclaimed Concrete Expressionism show curated by critic Irving Sandler at New York University,
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George Sugarman (–) was an American artist working in the mediums of drawing, painting, and sculpture. Often described as controversial and forward-thinking, Sugarman's prolific body of work defies a definitive style. He pioneered the concepts of pedestal-free sculpture and is best known for his large-scale, vividly painted metal sculptures. His innovative approach to art-making lent his work a fresh, experimental approach and caused him to continually expand his creative focus. During his lifetime, he was dedicated to the well-being of young emerging artists, particularly those who embraced innovation and risk-taking in their work. In his will, Sugarman provided for the establishment of The George Sugarman Foundation, Inc.
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George Sugarman
American,
George Sugarman, was a prolific, controversial, and forward-thinking American artist. His sculptures, drawings, and paintings defy a definitive style. As an innovator in pedestal-free sculpture and vividly painted metal sculptures, Sugarman was continually expanding on the metamorphoses of his prodigious creativity.
Always interested in the well-being of dedicated, young, and developing artists, Sugarman provided for them in his will. Thus, the establishment of The George Sugarman Foundation, Inc.
All art is metaphor, if one wants it that way, but then so is any object. To escape from metaphor, artists have often chosen other ways: sheer physical stimulation or the insistence on a system of formal relationships that has meaning in and for itself. Metaphor, stimulation, formal relationships, three ways to meaning. Is it necessary to choose?
George Sugarman,
"The elaborate shapes, both delicate and dense, recall the Baroque art that impressed George Sugarman during his first travels in Europe. LaterSugarman noted, 'All throughout the '60s and '70s I had no label. I wasn't Pop. I wasn't Mininmal. And 'Maximal' was a word that wasn't used. Yet I was
George Sugarman
George Sugarman (–) is best known for his whimsical, brightly colored minimal sculptures. A graduate of the City College of New York, Sugarman served in the United States Navy during World War II. After the war he studied in Paris under Cubist sculptor Ossip Zadkine. He returned to New York in at the age of 39 to begin his career as an artist. He was among the group of artists who came to prominence in the early s including Anthony Caro, Donald Judd and Mark di Suvero, who made large-scale sculpture that spurned the traditional pedestals to sit directly on the floor, in the viewer's space.
His earliest works were carved from single blocks of wood. In he created his first painted wood piece, these works infuse the often somber, formalism of that era with a playful pop sensibility. Though he continued his exploration of whimsical, colorfully painted forms, in the s he began to fabricate his sculptures out of aluminum. Unlike many of his contemporaries who sought to remove evidence of the artist’s hand, these works were constructed by the artist and painted with a brush. Sugarman was known to first create his works as cardboard maquette
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