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.

中文翻译：

---

现代主义对抗与物质互惠：蔡斯-吕布的白化病


本文探讨了芭芭拉·蔡斯-吕布 (Barbara Chase-Riboud) 早期雕塑实践中开始的材料交换，当时她通过仔细观察 1972 年的作品《白化病》(The Albino)，开始将纤维融入到她的青铜雕塑中。我认为蔡斯-吕布声称雕塑是一个象征性的场所，物质知识可以在其中跨越时间和空间转移。该作品的谈判将西方雕塑实践向跨历史协会内的混合形式开放，将工艺和青铜的所谓特殊性重新加工成思想和实践交流的场所。