The New York Times

Hilary Moss

October. 21. 15

It’s easiest — and sensible, really — to classify much of Max Ernst’s artistic output either historically (pre- and post-World Wars I and II), geographically (the French period, the American period, a second French period), by his loyalty to Dada or Surrealism or by his pioneering approaches (frottage, grattage, decalcomania). But Ernst’s sculpture, something he turned to throughout his sevendecade- long career, remained a constant and transcends categorization. “He’d finish a body of work and he’d go back to sculpture, and I think he found it interesting to make,” speculates the art dealer Paul Kasmin. “He must have thrived off of it, because then he’d leap back into another body of work.”

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