{"product_id":"david-smith-9780520291881","title":"David Smith","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eAcknowledgments\u003cbr\u003e A Note on the Texts\u003cbr\u003e Introduction\u003cbr\u003e\u003cbr\u003e THIRTIES AND FORTIES\u003cbr\u003e Media: The Materials of the Artist, by Max Doerner, 1935\u003cbr\u003e Current Exhibitions: Abstract Painting in America, 1935\u003cbr\u003e In America You Feel, 1935–36\u003cbr\u003e An Expression of Emotion That Cannot Be Put into Words, 1935–36\u003cbr\u003e The Concept Is Primary, 1938–39\u003cbr\u003e The Architect Should Be Able to Judge, 1939–40\u003cbr\u003e Modern Sculpture and Society, 1939–40\u003cbr\u003e Abstract Art in America, 1940\u003cbr\u003e Medals for Dishonor, Responses to Questions from Elizabeth McCausland, 1940\u003cbr\u003e Sculpture: Art Forms in Architecture—New Techniques Affect Both, 1940\u003cbr\u003e Medals for Dishonor, 1940\u003cbr\u003e The Recurrences of Totemism, c. 1945\u003cbr\u003e The Visual Arts, 1945\u003cbr\u003e I Have Erected a Solid, c. 1945\u003cbr\u003e A River Mts, c. 1945\u003cbr\u003e The Sculpture Produces an Environment, c. 1945\u003cbr\u003e To Keep from Becoming Enslaved, c. 1945\u003cbr\u003e The Technique, Brushstrokes, Chisel Marks, c. 1946\u003cbr\u003e Landscape Fish Clouds, 1946–47\u003cbr\u003e The Question—What Is Your Hope, c. 1947\u003cbr\u003e One of the Early Impressions, c. 1947\u003cbr\u003e Lecture, Skidmore College, 1947\u003cbr\u003e The Landscape; Spectres Are; Sculpture Is, 1947\u003cbr\u003e Design for Progress—Cockfight, 1947\u003cbr\u003e The Sculptor’s Relationship to the Museum, Dealer, and Public, 1947\u003cbr\u003e The Golden Eagle—A Recital; Robinhood’s Barn, 1948\u003cbr\u003e Foreword, Dorothy Dehner: Drawings, Paintings, 1948\u003cbr\u003e\u003cbr\u003e FIFTIES\u003cbr\u003e Report for Interim Week, 1950\u003cbr\u003e Statement, Herald Tribune Forum, 1950\u003cbr\u003e Sculpture Hopes to Be, 1950\u003cbr\u003e Notes on Books, 1950\u003cbr\u003e The Question—What Are Your Influences, 1950\u003cbr\u003e Autobiographical Notes, 1950\u003cbr\u003e What I Believe about the Teaching of Sculpture, 1950\u003cbr\u003e The Flight Paths of Birds Moths Insects, 1950–51\u003cbr\u003e Notes—Watch a Torn Sheet, c. 1951\u003cbr\u003e What Happens to Barnyard Grass, 1951\u003cbr\u003e Foreword—(Apology of a Juryman), 1951\u003cbr\u003e Notes on Seven Sculptures, 1951\u003cbr\u003e Progress Report and Application for Renewal of Guggenheim Fellowship, 1951\u003cbr\u003e And So This Being the Happiest—Is Disappointing, 1951\u003cbr\u003e Notes for Elaine de Kooning, 1951\u003cbr\u003e The Joint Is Foul with Smoke, 1951\u003cbr\u003e Sketchbook Notes: The Red of Rust; The Metaphor of a Symbol; The Position for Vision; Reading, 1951–52\u003cbr\u003e Sketchbook Notes: Music; The Cloud; Space; And in the Best of Squares, 1951–52\u003cbr\u003e Lecture, Williams College, 1951\u003cbr\u003e Problems of the Contemporary Sculptor, 1952\u003cbr\u003e The Language Is Image, 1952\u003cbr\u003e The New Sculpture, 1952\u003cbr\u003e Atmosphere of Early ’30s, 1952\u003cbr\u003e A Head Is a Drawing, c. 1952\u003cbr\u003e The Modern Sculptor and His Materials, 1952\u003cbr\u003e I Have Seen Some Critics, 1952\u003cbr\u003e Lecture, Skowhegan School of Painting and Sculpture, 1952\u003cbr\u003e Lecture, Fourth Annual Woodstock Art Conference, 1952\u003cbr\u003e Relative to Tanktotem I (Pouring), 1952\u003cbr\u003e How Far Away from Imitation of Reality, 1952\u003cbr\u003e Statement, WNYC Radio, 1952\u003cbr\u003e Who Is the Artist?, 1952\u003cbr\u003e Notes on Details—Technical, c. 1952–53\u003cbr\u003e Do We Dare to Do Bad Works, 1952–53\u003cbr\u003e Sometimes a Drawing Gets Too Complete, 1953\u003cbr\u003e Lecture, Portland Art Museum, 1953\u003cbr\u003e Books: African Classics for the Modern, 1953\u003cbr\u003e Sketchbook Notes: From the Textures; The Part to the Whole; There Is Something Rather Noble About Junk, 1953\u003cbr\u003e Notes While Driving, 1953\u003cbr\u003e The Artist and Art in America, 1953\u003cbr\u003e I Sat Near My Window, 1953\u003cbr\u003e Thoughts on Sculpture, 1953\u003cbr\u003e Symposium: Art and Religion, 1953\u003cbr\u003e How Little I Know, 1953–54\u003cbr\u003e The Artist’s Image, 1954\u003cbr\u003e Notes from a Sketchbook Titled “Nature,” 1954\u003cbr\u003e Second Thoughts on Sculpture, 1954\u003cbr\u003e The Artist, the Critic, and the Scholar, 1954\u003cbr\u003e Tradition, 1954\u003cbr\u003e Lecture, Skowhegan School of Painting and Sculpture, 1954\u003cbr\u003e Contribution by the Aesthetician, 1954–55\u003cbr\u003e Defi ne Technique, c. 1955\u003cbr\u003e Editions, Duplication, c. 1955\u003cbr\u003e It Has Got to Make Big, 1955\u003cbr\u003e Notes—Improvised Upon, 1955\u003cbr\u003e To Make a Mark, 1955\u003cbr\u003e The Artist in Society, 1955\u003cbr\u003e Drawing, 1955\u003cbr\u003e And Drawings before the Etching or the Print, 1955\u003cbr\u003e Sketch—Oil Painting—The Infl uence—The Historian, c. 1956\u003cbr\u003e González: First Master of the Torch, 1956\u003cbr\u003e Lecture, Skowhegan School of Painting and Sculpture, 1956\u003cbr\u003e Sketchbook Notes: He May Be Intuitive Enough to Make It; Nothing Put Down with Force and Conviction Is Meaningless, 1957\u003cbr\u003e Sculpture and Architecture, 1957\u003cbr\u003e Selden Rodman, Conversation with David Smith, 1957\u003cbr\u003e False Statements; Editor’s Letters, 1957\u003cbr\u003e Contemporary Sculpture and Architecture, 1957\u003cbr\u003e Letters: American Art at the Met, 1958\u003cbr\u003e Is Today’s Artist With or Against the Past?, 1958\u003cbr\u003e Culture and the Ideal of Perfection, 1959\u003cbr\u003e Lecture, Ohio State University, 1959\u003cbr\u003e\u003cbr\u003e SIXTIES\u003cbr\u003e Notes on My Work, 1960\u003cbr\u003e Interview by David Sylvester, 1960\u003cbr\u003e Thoughts Travel and Come Unexpectedly, 1960\u003cbr\u003e Memories to Myself, 1960\u003cbr\u003e A Protest Against Vandalism; Letters; Rescue Operation, 1960\u003cbr\u003e What Is the Triumph, 1961\u003cbr\u003e Letter to the Board of Trustees of the Carnegie Institute, 1961\u003cbr\u003e Collective Concept, 1961\u003cbr\u003e Interview by Katharine Kuh, 1962\u003cbr\u003e Sculpture Today, 1962\u003cbr\u003e Sketchbook Notes: The Great Decision; To Think—To Dream; I Do Not Care for the Home Environment, 1962\u003cbr\u003e Sketchbook Notes: The Found Object; Isn’t It Good, 1962\u003cbr\u003e Letter to David Sylvester, 1962\u003cbr\u003e Report on Voltri, 1962–63\u003cbr\u003e A Bin Full of Balls, c. 1963 365\u003cbr\u003e Sketchbook Notes: CUBE III; Drawings Are a Change; Once in a Lifetime You Meet an Ironworks; You Rule Your Own World, 1962–63\u003cbr\u003e Jim and Minnie Ball, c. 1963\u003cbr\u003e I Like to Eat, c. 1964\u003cbr\u003e Interview by Thomas B. Hess, 1964\u003cbr\u003e The Subject Is Me, c. 1964\u003cbr\u003e Interview by Marian Horosko, 1964\u003cbr\u003e Interview by Frank O’Hara, 1964\u003cbr\u003e Some Late Words from David Smith, 1964\u003cbr\u003e\u003cbr\u003e Chronology\u003cbr\u003e List of Illustration Credits\u003cbr\u003e Index","brand":"University of California Press","offers":[{"title":"Default Title","offer_id":49402888356183,"sku":"9780520291881","price":27.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780520291881.jpg?v=1730481779","url":"https:\/\/bookcurl.com\/products\/david-smith-9780520291881","provider":"Book Curl","version":"1.0","type":"link"}