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| Current Future and Recent Exhibitions |
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| Current |
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"David Smith: Cubes and Anarchy," Wexner Center for the Arts,
Columbus, Ohio, to April 15, 2012
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"Cubes and Anarchy" offers a fresh interpretation of Smith's work, revealing that geometric abstraction was a constant focus throughout his career. The exhibition presents nearly 80 works, dating from 1932 to 1965, and includes many of his monumental late masterpieces together with related paintings, drawings, photographs and sketchbooks, many of which have never been exhibited. Opened January 28.
For more information. The exhibition was organized by The Los Angeles County Museum of Art (presented April 3-July 24, 2011), then traveled to the Whitney Museum of American Art (October 6-January 8, 2012). Exhibition publication. WMAA exhibition video. |
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Unity of Three Forms, 1937
Private collection |
Cubi XXVIII, 1965
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Construction, 1932
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Suspended Cube, 1938
Private collection |
Blue Construction, 1938 |
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Vertical Structure-Vertical Construction,
1939
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Big Diamond, 1952
Memorial Art Gallery of the University of Rochester, New York
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5 12, 1956
Fogg Art Museum
Harvard University, Cambridge, MA |
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Books and Apples, 1957
Fogg Art Museum
Harvard University, Cambridge, MA |
Fifteen Planes, 1958
Seattle Art Museum
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Albany IX (Little Albany), 1959-60
Privtate collection |
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Black White Forward, 1961 |
Lectern Sentinel, 1961
Whitney Museum of American Art
New York |
Circle IV, 1962 |
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Circle III, 1962
National Gallery of Art, Washington, DC |
Primo Piano III, 1962 |
Untitled (Candida), 1965 |
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| "American Vanguards: Graham, Davis, Gorky, de Kooning, and Their Circle, 1927-1942," Neuberger Museum of Art, Purchase, New York, to April 28, 2012 |
Organized by the Addison Gallery of American Art, Andover, this traveling exhibition explores the seminal influence of Graham's art and ideas on the development of early American modernist art as evidenced in paintings and sculptors by Stuart Davis, Dorothy Dehner, Willem de Kooning, Arshile Gorky, Adolph Gottlieb, Lee Krasner, Edgar Levy, Jan Matulka, Jackson Pollock, and David Smith. (Opened January 29, 2011). Exhibition tour: Amon Carter Museum, Fort Worth, Texas, June 9-August 19; Addison Gallery of American Art, September 21-December 31, 2012.
For more information about the exhibition. Exhibition catalogue with essays by guest curators William C. Agee, Karen Wilkin, and Irving Sandler, published by Yale University Press. |
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Untitled (Table Top Still Life), c. 1930 |
Head, 1932 |
Chain Head, 1933 |
Untitled (Head, Blue & White), 1934 |
Untitled (Billiards), 1936 |
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| Future |
| "Julio González: First Master of the Torch," Ordovas Gallery, London, February 14-April 2, 2012 |
In the last ten years of his life, Julio González, whose understanding of the potential of welding to create a new paradigm of sculptural form had been profoundly influenced by his collaboration with Picasso between 1928 and 1932, produced a group of constructed iron works that transformed the nature of modern sculpture and opened a new path for a younger generation of artists that has yet to be fully explored.
When David Smith first saw images of Picasso and González's groundbreaking wire-like constructions, he immediately grasped their revolutionary character. In 1933, with his own series of four welded iron heads, Smith began a diverse, monumental body of work that, like the work of younger sculptors who followed such Eduardo Chillida and Anthony Caro, explored and expanded into new territories opened up by Picasso and González's momentous innovations.
This is the first exhibition dedicated to Julio González in London in twenty years. Its title is taken from the moving essay written by David Smith in 1956 for Art News on the occasion of a retrospective of González's work at The Museum of Modern Art, New York. In addition to works by the Spanish artist from the collections of The Institut Valencia d'Art Modern (IVAM) and the Lehmbruck Museum, the presentation includes: David Smith's The Woman Bandit, 1956-58; Oyarax I, 1954, by Eduardo Chillida; and Table Piece LXXXV, 1969, by Anthony Caro. For more information about the exhibition and accompanying publication. |
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The Woman Bandit, 1956-58 |
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| Recent |
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"Capital Portraits: Treasures from Washington Private Collections," National Portrait Gallery,
Washington, DC, April 8-September 5, 2011 |
The exhibition presented more than 60 paintings and sculptures, many of which had never been previously published or publicly exhibited. Grouped into three sections -- inherited, commissioned, and collected portraits -- and spanning four centuries, the show included works by Giovanni Boldini, President Dwight D. Eisenhower, Eric Fischl, Jean-Antoine Houdon, Rembrandt Peale, Lila Cabot Perry, David Smith, Gilbert Stuart, Andy Warhol and Kehinde Wiley, among others.
The accompanying publication, by curators Carolyn Kinder Carr and Ellen G. Miles, discusses the history of portraiture in America and includes detailed essays on each work in the exhibition. For more information. |
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Seated Figure
(Portrait of Lucille Corcos), 1936 |
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"Made in Italy," Gagosian Gallery, Rome, May 27-July 29, 2011 |
| With key works by Georg Baselitz, Jean Michel Basquiat, Joseph Beuys, Dike Blair, Marcel Duchamp, Alberto Giacometti, Douglas Gordon, Andreas Gursky, Keith Haring, Damien Hirst, Howard Hodgkin, Mike Kelley, Jeff Koons, Louise Lawler, Roy Lichtenstein, Richard Prince, Robert Rauschenberg, Gerhard Richter, Richard Serra, Cindy Sherman, David Smith, Thomas Struth, Cy Twombly, Andy Warhol, and Lawrence Weiner, the exhibition explored how artists over the past sixty years have been inspired by Italy's artistic heritage, physical beauty, and vibrant cultural traditions to create modern and contemporary masterworks animated by the ideas and ideals of the Italian legacy. View the catalogue. |
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Voltri XVII, 1962
Private Collection |
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"David Smith: Paintings and Works on Paper from the 1950s," American Contemporary Art Gallery, Munich, Germany, February-May 28, 2011 |
This selection of paintings and drawings dating from 1952 to 1957 displayed Smith's dynamic mastery of expressive gesture and boldly graphic form. Working with oil on masonite and egg ink and tempera on paper, Smith explored the fertile territory that lies between pure abstraction and allusive figuration. Exhibition opened February. For more information. |
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| ΔΣ 11/1/52, 1952 |
Untitled, 1954 |
Untitled, 1957 |
Untitled, 1957 |
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| "David Smith Invents," The Phillips Collection, Washington, D.C., February 12-May 15, 2011 |
This focus exhibition featured Smith's painted steel sculpture, Bouquet of Concaves, a recent gift to the Phillips Collection by Gifford and Joann Phillips, and the first sculpture by Smith to enter the Museum's collection.
The exhibition also includes six other sculptures, works on paper, paintings, clay reliefs, and photographs by the artist, on loan from The Estate of David Smith and major public and private collections. Smith’s two- and three-dimensional work from this period reveals his fascination with concave and convex shapes that appear in multiple configurations and repetitions, and with different surface treatments. This is the first exhibition of Smith's work in Washington, D.C. in over 25 years. Accompanied by a fully-illustrated book, with essays by Susan Behrends Frank, Sarah Hamill, and Peter Stevens published by The Phillips Collection in association with Yale University Press. Exhibition opened February 12, 2011. For more information about the exhibition. |
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Bouquet of Concaves, 1959
The Phillips Collection,
Washington, D.C. |
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Untitled, 1950
Baltimore Museum of Art, MD Tanktotem IV, 1953
Albright-Knox Art Gallery, Buffalo, NY |
White Egg with Pink, 1958
The Phillips Collection,
Washington, D.C. |
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Auburn Queen, 1959
Hirshhorn Museum and Sculpture Garden, Washington, D.C. |
Raven V, 1959
Storm King Art Center,
Mountainville, NY |
Black Concaves, 1960
Private Collection |
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Bouquet of Concaves II, 1960
Private Collection |
Sketchbook page,
(Study for Zig III), 1963 |
Untitled, 1964 |
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| "David Smith: Drawing Space," Margo Leavin Gallery, Los Angeles, March 31-May 14, 2011 |
More than forty works on paper, dating from the early 1930s to 1956, highlighted Smith's extraordinary feeling for what he called "sensitivity in a line." Working with egg and India ink and tempera, Smith freely invented news forms of "drawing in space," creating abstract images that are simultaneously rooted in an empathetic response to observed landscapes and organic processes and attentive to the visual and conceptual patterns that mediate and structure our experience of three-dimensional space. Fully illustrated catalogue with an essay by Susan Cooke and a text by Joel Shapiro. Installation views and additional information. Press release. |
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| Untitled, 1933 |
Untitled, 1951 |
ΔΣ 1/15/52, 1952 |
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| Untitled, 1952 |
Untitled, 1952 |
ΔΣ 9/8/52 |
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ΔΣ 3/8/53, 1953 |
Untitled, 1953 |
ΔΣ 9/15/53, 1953 |
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