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Recent, Current & Future Exhibitions

The Fields of David Smith an essay by Candida N. Smith

"Lost" Sculptures
We are seeking to contact the owners of these works of art for the revised David Smith Catalogue Raisonné




Abstractions Americaines
de l'artiste
à son oeuvre
Fondation Fernet-Branca, Saint Louis, France
June 1 - September 22, 2013

Focusing on several key figures from the Abstract Expressionist period, this exhibition will combine archival photographs, paintings and drawings to give a unique look into the personal and working lives of the artists.

The Smith family, c. 1958. Photograph by David Smith.
Voltri sculptures in Spoleto, 1962. Photograph by David Smith.
ΔΣ 2/20/52 NY, 1952

Drawings at Bolton Landing, c. 1960. Photograph by David Smith.
Checklist for Willard Gallery exhibition, 1954
Untitled, 1962


Poetry and Dream
Tate Gallery, London
2013 Collection Display Series

In this special display of the permanent collection, works by the Surrealists are juxtaposed with art from other periods that was inspired by the literature, painting, film, theatre and music of the Surrealist movement. The visual development of Surrealist principles created by the display reveals both contextual and conceptual shifts across the decades.

Please visit the Tate website for more information.

Cubi XIX, 1964

Special Extended Loan at the Museo Nacional Centro de Arte Reina Sofia, Madrid

The entire set of Smith's Medals for Dishonor will be on display for an extended period after Encounters with the 1930s. For more information, please refer to the Museo Reina Sofia website.

Propaganda for War, 1939-40
War Exempt Sons of the Rich, 1939-40
Death by Bacteria, 1939
Private Law and Order Leagues, 1939
Munition Makers, 1939
Diplomats: Fascist and Fascist Tending, 1938-39
Fourth Estate, 1939-40
Cooperation of the Clergy, 1939
Death by Gas, 1939-40
Bombing Civilian Populations, 1939
Sinking Hospital and Civilian Refugee Ships, 1939-40
Reaction in Medicine, 1940
Elements Which Cause Prostitution, 1939
Scientific Body Disposal, 1939
Food Trust, 1939-40

New York Historical Society
October 5, 2012 - May 27, 2013

The presence of armed forces, an influx of refugees, the shift to wartime industries, and propaganda spread by the media outlets during World War II made a significant impact on New York's growth and development. WWII & NYC builds a picture of the city's transformation through the military effort, and represents widely differing perceptions and opinions of the war within the heavily immigrant population of New York in the 1940s.

This exhibition draws upon extensive collections at the New York Historical Society and on important loans from the US Navy, the Smithsonian Institution, the Mariners' Museum, the Metropolitan Museum of Art, and the Estate of David Smith, among other institutions.

Please visit the New York Historical Society website for more information.

Munition Makers, 1939
Bombing Civilian Populations, 1939




Royal Academy of Arts, London
September 15, 2012 - December 9, 2012

This exhibition explores the artistic medium of bronze from ancient times to the contemporary era, including pieces from Ancient Greece and Rome, as well as works by Picasso, Rodin, Jasper Johns, Louise Bourgeois, Henry Moore and David Smith.

Please see the website for the Royal Academy for additional details.



Portrait of a Painter, 1954
Private Collection

David Smith: Points of Power
Galerie Gmurzynska, Zurich and St. Moritz
June 10- September 30, 2012

Like every artist I am always drawing from the figure. It is the source of almost everything we do; it provides motives and orders association."
David Smith, interview, 1940

In a burst of creative energy in 1964, the year before his death at the age of 59 in an automobile accident, David Smith created an extraordinary series of paintings of the female nude. Employing a technique of his own invention, he squeezed industrial enamel paint directly onto unstretched canvas, manipulating the small bulb and narrow tip of his implement to outline the shifting forms of his figures in an expressive and spontaneous manner. The freedom and inventiveness of these works affirm the ethos of Abstract Expressionism and Smith's conviction that the true subject of his work was his own identity.

Throughout his career, Smith refused to be bound by traditional distictions among media. This exhibition presents 40 paintings and more than 20 contemporaneous photographs and painted ceramic plates inspired by the nude female form, together with a dozen of Smith's sculptures in iron, steel and bronze that demonstrate his lifelong fascination with the formal and expressive qualities of the human figure.

Accompanied by a fully illustrated catalogue, with essays by Sarah Hamill and Candida Smith. For
additional information about the exhibitions. Exhibition video with commentary by Candida Smith.

Untitled (Nude), 1964
Enamel on linen

Untitled (Nude), 1964
Enamel on linen

Untitled (Nude), 1964
Enamel on linen
Untitled (Nude), 1964
Enamel on linen
Untitled (Nude), 1964
Enamel on canvas

Untitled (Nude), 1964
Enamel on canvas

Untitled (Nude), 1964
Enamel on linen
Untitled (Nude), 1964
Hand-painted ceramic plate, glazed and incised
Untitled (Nude), 1964
Hand-painted ceramic plate, glazed and incised

Untitled (Nude), 1964
Hand-painted ceramic plate, glazed and incised
Reclining Figure, 1933
Iron and brass
Private collection
Torso, 1937
Forged steel, painted, on artist's painted wood base
Cubi Woman, 1961-62
Bronze (unique cast)
Untitled (Nude), ca. 1963
Gelatin silver print
Untitled (Nude), ca. 1963
Gelatin silver print
Untitled (Nude, Bolton Landing), ca. 1963 Gelatin silver print

American Vanguards: Graham, Davis, Gorky, de Kooning, and Their Circle, 1927-1942
Addison Gallery of American Art, Phillips Academy, Andover
September 21-December 30, 2012

Organized by the Addison Gallery of American Art, Andover, this traveling exhibition explores the seminal influence of the Russian modernist artist John 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 at Neuberger Museum of Art, January 29, 2011-April 28, 2012; travels to Amon Carter Museum of American Art, Fort Worth, June 9-August 19, 2012; final venue Addison Gallery of American Art.)

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.

Untitled (Table Top Still Life), c. 1930

Head, 1932 Chain Head, 1933 Untitled (Head, Blue & White), 1934 Untitled (Billiards), 1936

The Pace Gallery, 32 East 57th Street, New York
February 23-April 14, 2012

This group exhibition explored the influence of ancient myths and archetypes on the origins of Abstract Expressionism. Among the works presented were paintings, sculptures, and drawings from the 1920s to the 1950s, by American and European artists including Alexander Calder, Arshile Gorky, Adolph Gottlieb, Willem de Kooning, Andre Masson, Matta, Joan Miró, Isamu Noguchi, Jackson Pollock, Mark Rothko, and David Smith. See the Pace Gallery website for more information and the press release.

Swung Forms, 1937

Objects Left at the Terminal Iron Works
in Brooklyn
, 1940 (Private collection)
Construction with Cheese Clouds, 1945

Julio González: First Master of the Torch
Ordovas Gallery, London
February 12 - 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 inaugurated a diverse, monumental body of work that inspired younger sculptors such as Eduardo Chillida and Anthony Caro, and explored and expanded the new definitions of sculpture proposed by Picasso and González's momentous innovations.

This exhibition was the first 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, the presentation included: David Smith's The Woman Bandit, 1956-58; Oyarax I, 1954, by Eduardo Chillida; and Table Piece LXXXV, 1969, by Anthony Caro. Please see the Ordovas Gallery website for more information about the exhibition and accompanying publication.

The Woman Bandit, 1956-58

David Smith: Cubes and Anarchy
Wexner Center for the Arts, Columbus, Ohio
January 28 - April 15, 2012

Cubes and Anarchy offered a fresh interpretation of Smith's work, revealing that geometric abstraction was a constant focus throughout his career. The exhibition presented nearly 80 works, dating from 1932 to 1965, and included many of his monumental late masterpieces together with related paintings, drawings, photographs and sketchbooks, many of which have never been exhibited.

For more information, please visit the website for the Wexner Center. The exhibition was first organized by the Los Angeles County Museum of Art (April 3 - July 24, 2011), and then traveled to the Whitney Museum of American Art (October 6 - January 8, 2012)

Exhibition publication
Whitney Museum exhibition video

Unity of Three Forms, 1937
Private Collection

Zig III, 1961
Private Collection

Construction, 1932
Suspended Cube, 1938
Blue Construction, 1938
Vertical Structure - Vertical Construction, 1939
Big Diamond, 1952
Memorial Art Gallery of the University of Rochester, New York

5 1/2, 1956
Fogg Art Museum, Harvard University, Cambridge, Massachusetts

Books and Apple, 1957
Fogg Art Museum, Harvard University,
Cambridge, Massachusetts
Fifteen Planes, 1958 Albany IX (Little Albany), 1959-60
Black White Forward, 1961 Lectern Sentinel, 1961
Whitney Museum of American Art, New York
Circle IV, 1962
Circle III, 1962
National Gallery of Art, Washington, DC
Primo Piano III, 1962
Untitled (Candida), 1965

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 included 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 composing concave and convex shapes in multiple configurations and repetitions, and with different surface treatments. This was 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.

Bouquet of Concaves, 1959
The Phillips Collection,
Washington, DC
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.
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
Bouquet of Concaves II, 1960
Private Collection
Sketchbook page,
(Study for Zig III), 1963
Untitled, 1964
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