Media : The materials of the artist, 1935 / by Max Doerner -- Current exhibitions : abstract painting in America, 1935 -- In America you feel, 1935-36 -- An expression of emotion that cannot be put into words, 1935-36 -- The concept is primary, 1938-39 -- The architect should be able to judge, 1939-40 -- Modern sculpture and society, 1939-40 -- Abstract art in America, 1940 -- Medals for dishonor, responses to questions from Elizabeth McCausland, 1940 -- Sculpture : art forms in architecture-new techniques affect both, 1940 -- Medals for dishonor, 1940 -- The recurrences of totemism, c. 1945 -- The visual arts, 1945 -- I have erected a solid, c. 1945 -- A river mts, c. 1945 -- The sculpture produces an environment, c. 1945 -- To keep from becoming enslaved, c. 1945 -- The technique, brushstrokes, chisel marks, c. 1946 -- Landscape fish clouds, 1946-47 -- The question-what is your hope, c. 1947 -- One of the early impressions, c. 1947 -- Lecture, Skidmore College, 1947 -- The landscape, spectres are, sculpture Is, 1947 -- Design for progress-cockfight, 1947 -- The sculptor's relationship to the museum, dealer, and public, 1947 -- The golden eagle-a recital; Robinhood's Barn, 1948 -- Foreword, Dorothy Dehner : drawings, paintings, 1948 -- Report for interim week, 1950 -- Statement, Herald Tribune Forum, 1950 -- Sculpture hopes to be, 1950 -- Notes on books, 1950 -- The question-what are your influences, 1950 -- Autobiographical notes, 1950 -- What I believe about the teaching of sculpture, 1950 -- The flight paths of birds moths insects, 1950-51 -- Notes-watch a torn sheet, c. 1951 -- What happens to barnyard grass, 1951 -- Foreword (apology of a juryman), 1951 -- Notes on seven sculptures, 1951 -- Progress report and application for renewal of Guggenheim Fellowship, 1951 -- And so this being the happiest-is disappointing, 1951 -- Notes for Elaine de Kooning, 1951 -- The joint is foul with smoke, 1951 -- Sketchbook notes : The red of rust; The metaphor of a symbol; The position for vision; Reading, 1951-52 -- Sketchbook notes : Music; The cloud; Space; And in the best of squares, 1951-52 -- Lecture, Williams College, 1951 -- Problems of the contemporary sculptor, 1952 -- The language is image, 1952 -- The new sculpture, 1952 -- Atmosphere of early '30s, 1952 -- A head is a drawing, c. 1952 -- The modern sculptor and his materials, 1952 -- I have seen some critics, 1952 -- Lecture, Skowhegan School of Painting and Sculpture, 1952 -- Lecture, Fourth Annual Woodstock Art Conference, 1952 -- Relative to Tanktotem I (Pouring), 1952 -- How far away from imitation of reality, 1952 -- Statement, WNYC Radio, 1952 -- Who is the artist?, 1952 -- Notes on details-technical, c. 1952-53 -- Do we dare to do bad works, 1952-53 -- Sometimes a drawing gets too complete, 1953 -- Lecture, Portland Art Museum, 1953 -- Books : African classics for the Modern, 1953 -- Sketchbook notes : From the textures; The part to the whole; There is something rather noble about junk, 1953 -- Notes while driving, 1953 -- The artist and Art in America, 1953 -- I sat by my window, 1953 -- Thoughts on sculpture, 1953 -- Art and religion, 1953 -- How little I know, 1953-54 -- The artist's image, 1954 -- Notes from a sketchbook titled "Nature," 1954 -- Second thoughts on sculpture, 1954 -- The artist, the critic, and the scholar, 1954 -- Tradition, 1954 -- Lecture, Skowhegan School of Painting and Sculpture, 1954 -- Contribution by the aesthetician, 1954-55 -- Define technique, c. 1955 -- Editions, duplication, c. 1955 -- It has got to make big, 1955 -- Notes-improved upon, 1955 -- To make a mark, 1955 -- The artist in society, 1955 -- Drawing, 1955 -- And drawings before the etching or the print, 1955 -- Sketch-oil painting-the influence-the historian, c. 1956 -- Gonzalez : first master of the torch, 1956 -- Lecture, Skowhegan School of Painting and Sculpture, 1956 -- Sketchbook notes : He may be intuitive enough to make it; nothing put down with force and conviction is meaningless, 1957 -- Sculpture and architecture, 1957 -- Selden Rodman, conversation with David Smith, 1957 -- False statements, 1957 -- Contemporary sculpture and architecture, 1957 -- American art at the MET, 1958 -- Is today's artist with or against the past?, 1958 -- Culture and the ideal of perfection, 1959 -- Lecture, Ohio State University, School of Fine Arts, 1959 -- Notes on my work, 1960 -- Interview by David Sylvester, 1960 -- Thoughts travel and come unexpectedly, 1960 -- Memories to myself, 1960 -- Protests against vandalism, 1960 -- What is the triumph, 1961 -- Letter to the Board of Trustees of the Carnegie Institute, 1961 -- Collective concept, 1961 -- Interview by Katharine Kuh, 1962 -- Sculpture today, 1962 -- Sketchbook notes : The great decision; To think-to dream; I do not care for the home environment, 1962 -- Sketchbook notes : The found object; Isn't it good, 1962 -- Letter to David Sylvester, on working at Voltri, 1962 -- Report on Voltri, 1962-63 -- A bin full of balls, c. 1963 -- Sketchbook notes : CUBE III; Drawings are a change; Once in a lifetime you meet an ironworks; You rule your own world, 1962-63 -- Jim and Minnie Ball, c. 1963 -- I like to eat, c. 1964 -- Interview by Thomas B. Hess, 1964 -- The subject is me, c. 1964 -- Interview by Marian Horosko, 1964 -- Interview by Frank O'Hara, 1964 -- Some late words from David Smith, 1964 -- Chronology.
Summary:
"This comprehensive sourcebook is destined to become a lasting and definitive resource on the art and aesthetic philosophy of the American artist David Smith (1906-1965). A pioneer of twentieth-century modernism, Smith was renowned for the expansive formal and conceptual ambitions of his broadly diverse and inventive welded-steel abstractions. His groundbreaking achievements drew freely on cubism, surrealism, and constructivism, profoundly influencing later movements such as minimalism and environmental art. By radically challenging older conventions of monolithic figuration and refuting arbitrary distinctions between painters and sculptors, Smith asserted sculpture's equal role in advancing modern art. A compilation of Smith's poems, sketchbook notes, essays, lectures, letters to the editor, reviews, and interviews, these previously unpublished texts underscore the varied ways in which his writing functioned as a means to examine and articulate his private identity and to promote the social ideals that made him a key participant in contemporary discourses surrounding modernism, art and politics, and sculptural aesthetics. All the documents in David Smith: collected writings, lectures, and interviews have been newly corrected against the original manuscripts, typescripts, and audiotapes. Each text in this collection is annotated with historical and contextual information that reflects Smith's own process of continually reviewing and revising his writings in response to his evolving aspirations as a visual artist."--Provided by publisher.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.