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2/4/2011

David Smith

Los Angeles County Museum of Art - LACMA, Los Angeles

The Los Angeles County Museum of Art (LACMA) presents David Smith: Cubes and Anarchy, the first major thematic exhibition devoted to the renowned twentieth-century American sculptor David Smith (1906-65). Organized by LACMA, the exhibition brings together over 100 works, including the largest grouping of Smith‘s monumental Cubis and Zigs brought together in more than twenty-five years. Cubes and Anarchy, for the first time, places these acknowledged masterpieces in context with his earlier works. The show reveals Smith as a sculptor whose identification with the working class motivated him to adopt the geometric forms of the constructivist avant-garde (modernist artists who used hard- edged geometries to express utopian optimism) from the very first years of his career in the 1930s until his untimely death in 1965. Cubes and Anarchy includes sculptures, drawings, paintings, and photographs—many provided by the Estate of David Smith, which lent not only significant sculptures but also revelatory sketchbooks and photos, only a few of which have been exhibited previously.
"David Smith is a protean talent who created sculptures that Donald Judd once described as 'some of the best in the world,‘ yet there has not been an exhibition of Smith‘s work on the West Coast since a memorial show at LACMA in 1965," says Carol S. Eliel, exhibition curator and LACMA curator of modern art. "David Smith: Cubes and Anarchy considers for the first time the entirety of the artist‘s career while focusing on the theme of geometry in his work," she added.

Exhibition Overview
Widely heralded as the greatest American sculptor of the twentieth century, Smith has often been presented as a counterpart to the abstract expressionist painters or as a draftsman in space. Most scholarship has viewed Smith‘s early work as developing in a linear fashion, from the European influences of Picasso and cubism in the 1930s, to a figuratively based, highly detailed, American surrealism in the 1940s, to a lyrically abstract, expressionist expansiveness in the 1950s, culminating with the seemingly disconnected breakthrough embodied in the reduced, geometric monumentality of his final works.

Cubes and Anarchy offers a fresh interpretation of Smith, revealing geometric abstraction as a constant focus throughout his career, a leitmotif that was deeply connected to the artist‘s self-definition as a workingman and his need to reconcile that, through his interest in constructivism, with his pioneering commitment to forging a unique personal identity as a modern artist. From his earliest small-scale sculptures to his last monumental works, what Smith called ―basic geometric form‖ was a powerful touchstone for the artist. LACMA‘s exhibition title derives from Smith‘s recollection that his concept of ―cubes and anarchy‖ stemmed from the painter John Sloan, his teacher at New York‘s Art Students League in the 1920s, who exposed him to cubism, constructivism, and progressive social movements. As art critic Dore Ashton noted, Sloan ―not only brought [Smith] into the modern art world, but also into the world of political commitment.

Politics and Art
Smith‘s sympathies for the cause of the American worker came in part from his own experiences. While a college student, Smith worked as a welder and riveter at the Studebaker automobile factory in South Bend, Indiana, a formative experience that introduced him to manufacturing techniques and processes. Smith worked again as a welder in the early 1940s, supplementing his meager income as an artist by making army tanks at the American Locomotive Company (ALCO) in Schenectady, New York. A member of Local 2054 United Steelworkers of America, Smith deliberately retained his union membership for years. He later explicitly affirmed the parallels between his working methods as an artist and those used by factory laborers. In his own words, he had learned from manufacturing ―to assemble the whole by adding its unit parts,‖ the same method of direct metal construction Smith used for his sculpture: ―The building up of sculpture from unit parts...is also an industrial concept, the basis of automobile and machine assembly.

Artistic Influence
On seeing reproductions of Picasso‘s and Julio González‘s early welded iron constructions in 1932, Smith immediately realized that what he had previously considered to only be an industrial material and technique could also be used to make art. Knowledge of their work—especially that of González, who like Smith, was trained to weld in an automobile factory— liberated Smith to make welded steel sculptures such as Saw Head (1933), combining a worker‘s tool (the saw) and methods (welding) with his interest in found geometries (the circular blade).

Smith was similarly fascinated with the Russian constructivists‘ use of industrial materials as well as their artistic vocabulary of abstract geometries used in service to populist ideals. The influence of Vladimir Tatlin, El Lissitzky, and others can be seen in Smith‘s sculptures ranging from the 1930s (Unity of Three Forms, 1937, and Suspended Cube, 1938) to the 1960s (Three Planes, 1960-61 and Zig IV, 1961).

Constantin Brancusi, Piet Mondrian, and Vasily Kandinsky likewise provided Smith with models of the avant-garde artist interested in geometric forms who also had populist roots or utopian aspirations. Smith paid homage to Brancusi, whose sculptures reflected roots in his native Romanian folk art and architecture, in various sculptures including The Hero (1951-52) as well as in drawings such as Untitled (1946). Smith alluded to Mondrian‘s strict geometries and made specific references to the Dutchman‘s compositions and palette in sculptures such as Zig III (1961) and Bec-Dida Day (1963). Smith and Kandinsky both understood and revered the circle in the sweeping context of human history. Smith‘s Bec-Dida Day demonstrates not only this shared love but also Smith‘s knowledge of Kandinsky‘s color theory and his specific correlations between particular shapes and colors.
As David Smith: Cubes and Anarchy makes clear, Smith adopted and adapted, throughout his short but significant career, the pure geometries of the constructivist avant-garde, creating a body of work that remains among the richest and most powerful ever made. The exhibition is organized by Carol S. Eliel, curator of modern art, LACMA and is accompanied by a richly illustrated catalogue with a lead essay by Eliel and additional essays by curator Christopher Bedford and scholars Alex Potts and Anne M. Wagner.

About David Smith
Smith was born in Indiana in 1906. In 1926 he moved to New York City, where he studied at the Art Students League. After establishing his studio in a foundry on the Brooklyn waterfront in the 1930s, in 1940 Smith moved to Bolton Landing, on Lake George in the Adirondacks of upstate New York. He showed regularly in New York City beginning in 1938 and already by the 1940s was championed by critic Clement Greenberg; in the 1950s Smith developed friendships with abstract expressionist painters including Robert Motherwell, Jackson Pollock, and Franz Kline. Smith‘s sculptures were exhibited not only across the United States but also internationally, including in the Venice Biennale (1958), the São Paulo Bienal (1959), and Documenta (1964). His work in the early 1960s brought Smith to the forefront of international recognition. Smith died (during the planning of a major exhibition for LACMA) in an automobile accident in 1965, at the age of 59.

Related events
Informed by David Smith: Contemporary Artists Discussion
Thursday, April 7 | 8 pm | Resnick Pavilion
Free; tickets required and available on the day of the event. Seating is limited.

Curator Carol Eliel discusses the enormous and ongoing influence of sculptor David Smith with Los Angeles-based artists Charles Ray and Jason Meadows. Ray is known for his exactingly made sculptures of altered and refashioned familiar objects including cars and trucks as well as tree stumps and the human figure. Meadows constructs and assembles his sculptures out of a wide range of materials, with color as an important component. The two artists will consider how deeply and broadly Smith has informed their own work. The event will take place in the exhibition galleries.

College Night 2011
Thursday, April 28 | 8 pm | Resnick Pavilion
Free, no reservations | College ID Required
Students and faculty will discover what influenced and inspired David Smith, the greatest American sculptor of the twentieth century. Visitors can share their ideas in a gallery discussion, create art, and enjoy a free reception just for college students.

Credit
This exhibition was organized by the Los Angeles County Museum of Art and was made possible by Alice and Nahum Lainer, the National Endowment for the Arts, Gagosian Gallery, and the Steven F. Roth Family Foundation. Additional support was provided by the Steaven K. and Judith G. Jones Foundation, Myron Laskin, Agnes Gund, Dorothy R. Sherwood, Terri and Michael Smooke, the Dedalus Foundation, Ellie and Mark Lainer, and the Lipman Family Foundation.

This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

The installation was designed by Levin & Associates Architects, Brenda A. Levin FAIA.

Press Contact: For additional information, contact LACMA Communications at press@lacma.org or 323 857-6522.

Los Angeles County Museum of Art - LACMA
5905 Wilshire Boulevard (at Fairfax Avenue), Los Angeles, CA, 90036
Hours: Monday, Tuesday, Thursday: noon-8 pm; Friday: noon-9 pm; Saturday, Sunday: 11 am-8 pm; closed Wednesday
General Admission: Adults: $15; students 18+ with ID and senior citizens 62+: $10
Free General Admission: Members; children 17 and under; after 5 pm weekdays for L.A.
County residents; second Tuesday of every month; Target Free Holiday Mondays

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