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American
(1931–2007)
3807-10
1965
Plexiglass and enamel
16 x 15.125 x 10.875 in.
Gift of the Marie Eccles Caine Foundation
2002.11
Throughout his career, Norman Zammitt practiced a spectrum-inflected reductivism. For most of that career he deployed this restrained style on canvas, but at the time of his emergence in the mid-1960s he was working with plastics and other industrial materials, creating freestanding three-dimensional objects. These distinguished themselves from the work of Zammitt’s “finish fetish” peers by their relatively rich, sometimes almost baroque, formal language and their reliance on intricate structure to help define the shapes floating in otherwise transparent objects—all the while drawing attention away from those shapes and toward the artist’s compositional and technical virtuosity, not to mention the elaborate cleverness of his constructions.
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