For almost half a century, African Negro sculpture has been much admired by connoisseurs. British Critic Roger Fry unhesitatingly called it "great sculpturegreater, I believe, than any we have made . . ." Photographs of 40 such primitive carvings, collected by Copenhagen's Carl Kjersmeier and published in book form last week (Wittenborn; $5.50), gave laymen a chance to see what the shouting was about.
There was one profound and devout difference between the Africans and modern sculptors: the former believed implicitly in the ends of their art; they made their carvings for a definite purpose. Like the Navajo sand painters (TIME, Feb....
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