Over the last few weeks I have encountered a rather odd collection of sculptural things: the postwar ceramic sculpture of Lucio Fontana and Fausto Melotti bursting with dynamically glazed and roughly handled surfaces, currently on view at the Nasher Sculpture Center; The Age of Innocence, a victorian
bust in three different materials by the English sculptor Alfred Drury at the Henry Moore Institute; a visit to Henry Moore's house, studios, and now foundation at Perry
Green, and most recently what I can only describe as a wonderfully insane lecture by the contemporary sculptor Thomas Houseago, which involved an increasingly
drunk, cursing artist saying some surprisingly sincere, profound things about sculpture.