Alberto Giacometti’s 1934 Cube stands apart for many as atypical of the Swiss artist, the only abstract sculptural work in a wide oeuvre that otherwise had as its objective the exploration of reality. With The Cube and the Face, renowned French art historian and philosopher Georges Didi-Huberman has conducted a careful analysis of Cube, consulting the artist s sketches, etchings, texts, and other sculptural works in the years just before and after Cube was created. Cube, he finds, is indeed exceptional a work without clear stylistic kinship to the works that came before or after it. At the same time, Didi-Huberman shows, Cube marks the transition between the artist s surrealist and realist phases and contains many elements of Giacometti s aesthetic consciousness, including his interest in dimensionality, the relation of the body to geometry, and the portrait or what Didi-Huberman terms abstract anthropomorphism. Drawing on Freud, Bataille, Leiris, and others Giacometti counted as influence, Didi-Huberman presents fans and collectors of Giacometti s art with a new approach to transitional work.
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