David Smith: Sculpture

“.. sculpture as a process of recognition.... in the great quiet of stopped machines -- the awe, the pull... Part is personal heritage... Since I've had identity, the desire to create excels over the desire to visit”

David Smith

the ancient sites and museums in Italy
from his notes 'Report on Voltri', shortly after 1962, about making his huge sculptures in Voltri, 1962
1960s, The Fields of David Smith,' (1999)

Parting , Personality

“Sculpture is as free as the mind; as complex as life..”

David Smith

in his notes for an article, 1951
Source: 1950s, from 'Abstract Expressionism' (1990), p. 159

Life

“[learning European modern art by seeing it in the art-magazine 'w:Cahiers d'art']…. my heritage was all those things; [De Stijl, Constructivism, Cubism, Surrealism ] simultaneously, so I am all those things. I hope with a very strong intellectual regard for Cubism, and an admiration for it, because it was great at a particular time. It was both painting and sculpture. It was a great point of liberation in both painting and sculpture, and especially sculpture. [David Smith was one of the few sculptors in the art scene of American Abstract Expressionism ]”

David Smith

In an interview with w:David Sylvester (1960), edited for BBC broadcasting: first published in 'Living Arts', April 1964; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 8
1960s

Hope , Art , Strong , Learning

“I would like to make sculpture that would rise from water and tower in the air
- that carried conviction and vision that had not existed before..”

David Smith

1940s, The Question – What is your Hope' (c. 1940s)

Water

“Possibly I can explain my own procedure more easily. When I begin a sculpture I'm not always sure how it is going to end. In a way it has a relationship to the work before, it is in continuity with the previous work — it often holds a promise or a gesture toward the one to follow.”

David Smith

1950s, Tradition and Identity' (1959)

Way

“I now know that sculpture is made from rough externals by rough characters or men who have passed through all polish and are back to the rough again.
The mystic modeling clay in only Ohio mud, the tools are at hand in garages and factories. Casting can be achieved in almost every town.”

David Smith

1950s, Tradition and Identity' (1959)

Men

“Visions are from the imaginative mind, sculpture can come from the found discards in nature, from sticks and stones and parts and pieces, assembled or monolithic, solid form, open form, lines of form, or, like a painting, the illusion of form. And sculpture can be painting and painting can be sculpture..”

David Smith

1950s, Tradition and Identity' (1959)

Imagination , Nature , Parting , Painting

“I want sculpture to show the wonder of man, that flowing water, rocks, clouds
vegetation have for the man in peace who glories in existence... Its existence will be its statement”

David Smith

1940s, The Question – What is your Hope' (c. 1940s)

Peace , Water

“I don't make boy sculptures. They become kind of personages, and sometimes they cry out to me that I should have been better or bigger, and mostly they tell me that I should have done that twelve years before -- or twenty years before”

David Smith

1960s, The Fields of David Smith,' (1999)

Boy , Cry

“I do not often follow its path from a previously conceived drawing. If I have a strong feeling about its start, I do not need to know its end; the battle for solution is the most important. If the end of the work seems too complete and final, posing no question, I am apt to work back from the end, that in its finality it poses a question and not a solution.
Sometimes when I start a sculpture I begin with only a realized part; the rest is travel to be unfolded, much in the order of a dream.”

David Smith

1950s, Tradition and Identity' (1959)

Dreams , Travel , Feeling , Question

“I knew metal working before I knew Calder [famous for his sculptures, made in sheet metal], and Calder is one of our great men and he is earlier by a few years than any of the rest of us [in American Abstract Expressionism ]. Calder had worked in Paris quite a bit in the early days, though he did go to school here in New York at the Art Student's League... After my first year in college I had worked on the assembly line in the Studebaker plants up in Indiana..”

David Smith

In an interview with w:David Sylvester (1960), edited for BBC broadcasting: first published in 'Living Arts', April 1964; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 10
1960s

Men , School , Art