Abstract
These photographs are part of a group in which the photographer attempts to show that the camera can truly interpret sculpture instead of doing the usual form of documentation exemplified by most museum photographs. Compare for example the photograph of the Bakota Fetish to the illustration of this same object in Picasso: Fifty Years of His Art, Museum of Modern Art, p. 259. The photographer has had to face some difficult problems for he has attempted to combine the intrinsic plastic and emotional qualities of each piece with his personal reactions—in many instances not easily combined. The pieces illustrated he felt were undoubtedly good sculpture, at the same time they were really exciting to him. At present the group comprises mostly contemporary and primitive sculpture but it is hoped to expand it to include every great sculptural period.
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