Morris Louis, “Seal” (1959)
Starting THIS SATURDAY (7/19), you can come see ALL OF THESE (and so much more) in our expanded American art galleries. Read more here.
Edward Henry Weston (1886–1958) Oceano, California, 1936, silver print mounted on board, 9 1/2 × 7 7/16 in. The Huntington Library, Art Collections, and Botanical Gardens. © 1981 Center for Creative Photography, Arizona Board of Regents.
Tony Smith, (1912–1980), For W.A., 1969, bronze, each piece 60 × 46 × 33 in.The Huntington Library, Art Collections, and Botanical Gardens. Anonymous gift in memory of Robert Shapazian, The Huntington Library, Art Collections, and Botanical Gardens. ©Tony Smith Estate / Artists Rights Society (ARS), New York. Photography © 2014 Fredrik Nilsen.
Paul Manship (1885–1966), Day, 1938, bronze, 13 1/2 × 26 1/4 in. The Huntington Library, Art Collections, and Botanical Gardens. Photography © 2014 Fredrik Nilsen.
Frederick Hammersley (1919–2009), See Saw, 1966, oil on linen, 44 × 44 in. The Huntington Library, Art Collections, and Botanical Gardens.
Tony Smith installations at Matthew Marks Gallery
1, 2, 3: Sculpture, Painting, Drawing (2008)
4: Marriage, Night, We Lost (2006)
5,6: For Series (2002)
The Snake is Out, Bryant Park, NY, 1967 . Tony Smith
All Combinations of Arcs from Corners and Sides; Straight, Not Straight and Broken Lines - Wall Drawing #260 - Lewitt, Sol (draftsman) - Installation, 1976 - Venice, Biennale (Repository)
'Two Open Modular Cubes/Half-Off', 1972.
In 1982 the artist wrote, ‘the most interesting characteristic of the cube is that it is relatively uninteresting. It is best used as a basic unit for any more elaborate function, the grammatical device from which the work may proceed.’ This sculpture is one of a group on the same scale, beginning with a single cube and using it as a building block or module in various combinations. This is the key example of the ‘half-off’ sculptures, where the cubes abut along half of one side instead of being aligned. The series includes works with three half-off cubes and with five half-off cubes alternately projecting and receding in a zig-zag. There are potentially many additions to the basic form.
Unknown Avant-garde consists of a selection of ten historic photographs depicting artists’ groups of the twentieth century (Dada, the Surrealists, the Bauhaus, the Situationist International, etc.). In each case the photograph itself has become as much part of art history as the artists and the groups portrayed in the photographs.
The other common feature of these photographs is the presence of one woman among many male colleagues. The images thus also demonstrate the isolated position that women have been assigned by art history.
The photographs are complemented by the documentation of research on female avant-garde artists. The captions added to the photographs refer to women Dadaists, Surrealists, Situationists, etc., who are missing from the group portraits and have therefore remained invisible to art history. The captions thus correct the photographs and rewrite art history
Free Ride by Tony Smith (1912-1980)
painted steel, 1962
Donald Judd, Untitled, 1968, stainless steel, plexiglass, Walker Art Center.