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03545aam a2200385 i 4500 001 AB7FE99CF2F211E49475ABD7DAD10320 003 SILO 005 20150505014724 008 150224t20152015caua b 001 0 eng c 010 $a 2014014667 020 $a 0520280342 (cloth) 020 $a 9780520280342 (cloth) 035 $a (OCoLC)881064425 040 $a CUS/DLC $b eng $e rda $c PUL $d CUS $d DLC $d OCLCF $d UKMGB $d TOH $d ERASA $d YDXCP $d BTCTA $d BDX $d MRY $d CDX $d SILO 042 $a pcc 050 00 $a TR658.3 $b .H36 2015 082 00 $a 770 $2 23 100 1 $a Hamill, Sarah, $e author. 245 10 $a David Smith in two dimensions : $b photography and the matter of sculpture / $c Sarah Hamill. 246 3 $a David Smith in 2 dimensions 264 1 $a Oakland, California : $b University of California Press, $c [2015] 300 $a xi, 257 pages : $b illustrations (some color) ; $c 26 cm 504 $a Includes bibliographical references (pages 221-234) and index. 505 0 $a Introduction : the problem of photography and sculpture -- Toward mass reproduction as a public display -- Aerial vision, photographic abstraction, and the surface of sculpture -- Images of non-belonging : dramatizing autonomy in the sculptural group -- Picturing color in space -- The terrain of the vulgar : Smith's 1963-64 nudes -- Conclusion : framed and unframed space. 520 $a "How does photography shape the way we see sculpture? In David Smith in Two Dimensions, Sarah Hamill broaches this question through an in-depth consideration of the photography of American sculptor David Smith (1906-1965). Smith was a modernist known for radically shifting the terms of sculpture, a medium traditionally defined by casting, modeling, and carving. He was the first to use industrial welding as a sustained technique for large-scale sculpture, influencing a generation of minimalists to come. What is less known about Smith is his use of the camera to document his own sculptures as well as everyday objects, spaces, and bodies. His photographs of sculptures were published in countless exhibition catalogs, journals, and newspapers, often as anonymous illustrations. Far from being neutral images, these photographs direct a pictorial encounter with spatial form and structure the public display of his work. David Smith in Two Dimensions looks at the sculptor's adoption of unconventional backdrops, alternative vantage points, and unusual lighting effects and exposures to show how he used photography to dramatize and distance objects. This comprehensive and penetrating account also introduces Smith's expansive archive of copy prints, slides, and negatives, many of which are seen here for the first time. Hamill proposes a new understanding of Smith's sculpture through photography, exploring issues that are in turn vital to discourses of modern sculpture, sculptural aesthetics, and postwar art. In Smith's photography, we see an artist moving fluidly between media to define what a sculptural object was and how it would be encountered publicly"--Provided by publisher. 600 10 $a Smith, David, $d 1906-1965. 650 0 $a Photography of sculpture. 650 0 $a Art and photography. 600 17 $a Smith, David, $d 1906-1965. $2 fast $0 (OCoLC)fst00037264 650 7 $a Art and photography. $2 fast $0 (OCoLC)fst00815420 650 7 $a Photography of sculpture. $2 fast $0 (OCoLC)fst01061941 650 7 $a PHOTOGRAPHY / General. $2 bisacsh 941 $a 1 952 $l OVUX522 $d 20191217022203.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=AB7FE99CF2F211E49475ABD7DAD10320Initiate Another SILO Locator Search