David Smith: Lineage

April 5, 2011

Working on the exhibition David Smith: Cubes and Anarchy over the past six years has caused me to muse more than once on “lineage”—the many relationships each of us has to history.  Let me explain.

Renowned American sculptor David Smith (who was born in 1906) briefly attended the University of Notre Dame and worked one summer at the Studebaker automobile factory, both in South Bend, Indiana.  I was born and grew up in South Bend and my father was on the faculty at Notre Dame.  Pure coincidence, but it makes me feel connected, a part of a historical trajectory.

David Smith: Cubes and Anarchy is the first major exhibition on the West Coast devoted to this outstanding sculptor in over forty-five years.  The last one, also at LACMA, opened in November of 1965.  It was organized by Maurice Tuchman, who was the head of my curatorial department (then known as Twentieth-Century Art) when I first arrived at the museum as a curatorial assistant in 1984.  Another personal link in a historical chain.

cover, David Smith: A Memorial Exhibition, published by the Los Angeles County Museum of Art, 1965

The two exhibitions are very different, however.  Cubes and Anarchy is a thematic exhibition—including not only Smith’s sculptures but also his drawings, paintings, and photographs—tracing the sculptor’s use of geometry from the very first years of his career in the early 1930s to his unexpected death in 1965.  LACMA’s 1965 show, by contrast, started out as an exhibition of then-recent large-scale sculptures—a dozen from the Cubi series and two from the Zig series—all made between 1961 and 1965.  On May 23, 1965, in the midst of the preparations for that show, Smith was killed in a car accident at age 59.  As a result, the show became David Smith: A Memorial Exhibition.  As Anne M. Wagner writes in the Cubes and Anarchy catalogue, “The [1965] catalogue…took up the task of mourning, its cover speaking…of tragic martyrdom, and its concluding photograph—the artist’s welding helmet, still sitting where he had left it in the studio—offering a more subtle and immediate evocation of bodily loss.”

Since 1965 David Smith has ascended into the artistic pantheon, not only of great American artists but of all great artists.  So, for the art historian and curator—for me, that is—as well as for the visitor to Cubes and Anarchy, the sense of a personal connection to this remarkable artist is now enhanced by a broader cultural perspective.

Carol S. Eliel, Curator of Modern Art


Television and Disaster: Vija Celmins

April 3, 2011

Recently, artist Vija Celmins visited LACMA. She was here for the installation of Vija Celmins: Television and Disaster 1964-1966. Celmins made all of the paintings in the show during a period when she was living in Los Angeles–more specifically, in a beloved studio in Venice. She talked about that time in her life, what propelled her work then, and how she looks at it now:

Vija Celmins: Television and Disaster 1964-1966 is on view in the Ahmanson building, plaza level, through June 5th. (After you see the paintings, don’t miss Celmins’ markedly different Untitled (Comb) just down the hall in a nearby gallery.)

Amy Heibel


This Weekend at LACMA: David Smith Opens, Larry Fink Closes, Rare Godard Screening, and More

April 1, 2011

As previewed earlier this week, opening this Sunday in the Resnick Pavilion is David Smith: Cubes and Anarchy, the first major exhibition devoted to the artist on the West Coast in almost half a century. The show features more than 100 objects, including sculptures, drawings, paintings, and photographs from across Smith’s career. While you’re here be sure to head across the way to BCAM for Human Nature: Contemporary Art from the Collection.

David Smith, CUbi XXVIII, 1965, The Eli and Edythe L. Broad Collection, Los Angeles

Just adjacent to Cubes and Anarchy is Larry Fink: Hollywood, 2000–2010, which closes this Sunday. Also closing Sunday is In the Service of the Buddha: Tibetan Furniture from the Hayward Family Collection.

Between tonight and tomorrow you have four different opportunities to catch a rare screening of Jean-Luc Godard’s 1980 film Every Man for Himself, starring Jacques Dutronc and Isabelle Huppert. Godard referred to this as his “second first film”—a return to form after ten years of experimental films and radical politics.

Every Man for Himself

With a new month comes a new theme for Andell Family Sundays: bring your kids to the museum for “Dig It: Egypt” —check out our recently reinstalled ancient world galleries (including a mummy in a sarcophagus!) and make art in our family workshops inspired by these ancient objects.

Ancient galleries

Sunday night, the Chamber Ensembles from the Colbern Conservatory will perform as part of our ongoing free Sundays Live concert series.

Scott Tennent


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