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“An essential account of America’s greatest sculptor . . . [A] magnum opus.” —Marjorie Perloff, The Times Literary Supplement The landmark biography of the inscrutable and brilliant David Smith, the greatest American sculptor of the twentieth century. David Smith, a pioneer of Abstract Expressionism, did more than any other sculptor of his era to bring the plastic arts to the forefront of the American scene. Central to his project of reimagining sculptural experience was challenging the stability of any identity or position—Smith sought out the unbounded, unbalanced, and unexpected, creating works of art that seem to undergo radical shifts as the spectator moves from one point of view to another. So groundbreaking and prolific were his contributions to American art that by the time Smith was just forty years old, Clement Greenberg was already calling him “the greatest sculptor this country has produced.” Michael Brenson’s David Smith: The Art and Life of a Transformational Sculptor is the first biography of this epochal figure. It follows Smith from his upbringing in the Midwest, to his heady early years in Manhattan, to his decision to establish a permanent studio in Bolton Landing in upstate New York, where he would create many of his most significant works—among them the Cubis, Tanktotems, and Zigs. It explores his at times tempestuous personal life, marked by marriages, divorces, and fallings-out as well as by deep friendships with fellow artists like Helen Frankenthaler and Robert Motherwell. His wife Jean Freas described him as “salty and bombastic, jumbo and featherlight, thin-skinned and Mack Truck. And many more things.” This enormous, contradictory vitality was true of his work as well. He was a bricoleur, a master welder, a painter, a photographer, and a writer, and he entranced critics and attracted admirers wherever he showed his work. With this book, Brenson has contextualized Smith for a new generation and confirmed his singular place in the history of American art.
A timely, no-holds barred, critical political history of the modern Olympic Games The Olympics have a checkered, sometimes scandalous, political history. Jules Boykoff, a former US Olympic team member, takes readers from the event’s nineteenth-century origins, through the Games’ flirtation with Fascism, and into the contemporary era of corporate control. Along the way he recounts vibrant alt-Olympic movements, such as the Workers’ Games and Women’s Games of the 1920s and 1930s as well as athlete-activists and political movements that stood up to challenge the Olympic machine.
On the occasion of the 20th anniversary of do it, Hans Ulrich Obrist has collaborated with Independent Curators International (ICI) on its newest iteration, do it: the compendium (ICI and DAP, May 2013). The new publication will present the history of this landmark project and give new potential to its future. Adrian Piper orders audiences to hum a tune before entering a guarded room. Ben Kinmont wants us to invite a stranger into \[our\] home for breakfast. Alexandre Singh teaches us how to turn wine into soda. Yoko Ono encourages us to keep wishing. And Mircea Cantor demands we burn this book. ASAP, but John Armleder says to do None of the above. Along with a selection of instructions by 250 artists, 84 of which are newly published for the 20th anniversary, do it: the compendium will also include essays contextualizing do it; a new interview with Obrist; and documentation from past iterations, including exhibition images, texts, and interviews.
This comprehensive sourcebook is destined to become a lasting and definitive resource on the art and aesthetic philosophy of the American artist David Smith (1906-1965). A pioneer of twentieth-century modernism, Smith was renowned for the expansive formal and conceptual ambitions of his broadly diverse and inventive welded-steel abstractions. His groundbreaking achievements drew freely on cubism, surrealism, and constructivism, profoundly influencing later movements such as minimalism and environmental art. By radically challenging older conventions of monolithic figuration and refuting arbitrary distinctions between painters and sculptors, Smith asserted sculpture's equal role in advancing modern art. A compilation of Smith's poems, sketchbook notes, essays, lectures, letters to the editor, reviews, and interviews, these previously unpublished texts underscore the varied ways in which his writing functioned as a means to examine and articulate his private identity and to promote the social ideals that made him a key participant in contemporary discourses surrounding modernism, art and politics, and sculptural aesthetics. All the documents in David Smith: Collected Writings, Lectures, and Interviews have been newly corrected against the original manuscripts, typescripts, and audiotapes. Each text in this collection is annotated with historical and contextual information that reflects Smith's own process of continually reviewing and revising his writings in response to his evolving aspirations as a visual artist.
This catalogue examines a major though little-known body of David Smith's work. Enraged by the rise of fascism that he witnessed while visiting Europe in the 1930s, Smith began to work on the "Medals for Dishonor." Approaching the tradition of commemorative medallions ironically, Smith denounces historical players who willingly contributed to the horrors of war.
This study examines the observations of U.S. military personnel who attended India's Defence Services Staff College (DSSC) at Wellington. Although the DSSC is a tri-service professional military education institution, this study focuses primarily on the Indian Army, the largest and most influentialmilitary service in India. Collectively, U.S. personnel at the DSSC had sustained interactionsover an extended period of time with three distinct groups of Indian Army officers: seniorofficers (brigadier through lieutenant general), senior midlevel (lieutenant colonel and colonel),and junior midlevel (captain and major). The study focuses on the attitudes and values of theIndian Army officer corps over a 38-year period, from 1979 to 2017, to determine if there waschange over time, and if so, to understand the drivers of that change.