Word: smithing
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Dates: during 1960-1969
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...gone, that pop, op and minimal are not true avant-garde art, but merely "novelty art." The only thing that can save high art, he continues, is long periods of gestation. What's needed is for the "larger art public to stop breathing down its neck." In Smith's case, however, the argument is academic-because he has already spent some 30 years, in a manner of speaking, gestating...
...Telephone. Until two years ago, Tony Smith was self-confessedly an artistic wallflower. He was known, if at all, in Manhattan art circles as a minor architect and Sunday painter of geometric abstractions, a semiprofessional Irishman (his great-grandparents were from the land of Joyce) whose recitals of Finnegans Wake livened up artists' parties. Then, almost overnight, Smith blossomed...
Blades Above the Treetops. Tony Smith, who was thought of as primarily an architect at the time, witnessed the coming of age of the U.S. as a world art power in the 1950s. Many of the abstract expressionists who were responsible for that triumph were his friends, including Jackson Pollock, Mark Rothko and Barnett Newman. Smith designed the Long Island homes of Painter Theodores Stamos and Gallery Owner Betty Parsons. Not the least important aspect of the abstract expressionists was the size of their paintings. To force the spectator to become a part of their huge gesture paintings, leaders...
Soup-Can Glasses. That the scene is lively, Tony Smith certainly agrees. While no pop art collector himself, he still thinks its cheerful acceptance has added yeast to the ferment. "It has helped art move from a private scene to a public scene," he points out. "In an odd way, the people who supported pop contributed to this by living public lives through mass media. We got to see their collections in magazines; they were talked about in the press, on TV. Their lives became public, and it made the general public much more aware of art and artists...
Museum staged its "Primary Structures" show, with Free Ride in its entry court. Minimal art was officially launched-and so was Tony Smith. As a movement, minimal art seemed out to prove to the hilt Architect Mies van der Rohe's dictum: less is more. Many of the objects were simply boxes, beams of steel or lines of bricks. Any figurative suggestions were banned. So was any sign of the craftsman's personal touch: whether large or small, the objects were commercially constructed, color was applied with a spray gun. The aim seemed to be to assault...