Abstract
This paper considers the material exchange initiated in the early sculptural practice of Barbara Chase-Riboud when she began to incorporate fiber into her bronze sculptures by looking closely at her 1972 work, The Albino. I suggest that Chase-Riboud staked a claim for sculpture as a symbolic site at which material knowledge might be transferred across time and space. The work’s negotiations open western sculptural practice to a hybridized form located within transhistorical associations that rework the alleged specificities of both craft and bronze into sites for the exchange of ideas and practices.
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