Word: exhibit
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Dates: during 1990-1999
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Most of the paintings, drawings, prints and photographs in the small but representative exhibit are the result of collaboration between the artist and Lois Orswell, a long-time collector of his work. Born in Decatur, Indiana, Smith had scarcely any exposure to the artistic community until he met painter Dorothy Dehner in the mid-1920s. After working in factories, Smith wished to bridge the world of industrial manufacturing and high...
...elitism also informed Smith's ambivalent response to the praise he ultimately garnered from the artistic community. Some critics have argued that Smith's stormy relations with contemporary artistic "authorities" represented a refusal to fit his work within the contemporary parameters of art discourse. But after viewing this exhibit, it becomes clearer that Smith's concerns were more specific than simply a complete rejection of artistic aspirations...
Smith, of course, could not keep pure of all such influences, and his missteps are on display at the exhibit as well. While billed as "explorations of form, color, shape and mass," his paintings and small assemblages convey little original thought. "Relief with Bones" is a particular disaster-- constructed of chicken bones, a shoebox lid, and canvas, this mess of gouache and watercolor artlessly melds the elemental primitivism of Jean DuBuffet with the cool detachment of pop artists. Although occasionally suggesting the powerful brushwork of a Kline, Smith's other paintings pale in comparison with the power of his sculpture...
...pervaded recent public discourse. The line between words and action is often a fine one, and Israelis must assume responsibility for their words as well as for their actions. Israelis must not stand by when their head of state is condemned as a traitor and a Nazi Israelis must exhibit toleration towards difference of opinion but firm intolerance of rhetoric and action which fall outside the limits of civil discourse...
...about nihilism destroying the African-American community through negativity, such as hard-core rap, is consistent with a body of literature in social theory (See the work of Professor Cornel West '74). I contend that Star's myopic perspective prevents him from realizing that all groups in American society exhibit nihilistic tendencies. To single out the African-American condition as somehow different and irrational ignores volumes of comparable data on mainstream society...