G a G O S I a N G AL L E R Y David Smith Biography
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ATHLETICS AUSTRALIA AUSTRALIAN RECORDS AS at 16Th September 2020
ATHLETICS AUSTRALIA AUSTRALIAN RECORDS AS AT 16th September 2020. MEN EVENT PERF. DATE VENUE NAME STATE D.O.B. 100 METRES Aust Allcomers 9.87 23-Sep-00 Sydney Maurice Greene USA 23-Jul-74 Aust National 9.93 5-May-03 Mita, JPN Patrick Johnson ACT 26-Sep-72 Aust U20 10.15 1-Jul-18 Finland Jake Doran QLD 18-Jul-00 Aust U18 10.38 11-Dec-15 Perth Jack Hale TAS 22-May-98 Aust U16 10.67 7-Dec-13 Townsville Jordon Shelley NSW 27-Feb-98 200 METRES Aust Allcomers 19.92 25-Feb-99 Melbourne Frankie Fredericks NAM 2-Oct-67 Aust National 20.06 16-Oct-68 Mexico City Peter Norman VIC 15-Jun-42 Aust U20 20.48 3-Feb-85 Brisbane Fred Martin NSW 4-Oct-66 Aust U18 20.90 6-Nov-82 Sydney Darren Clark NSW 6-Sep-65 20.90 19-Aug-89 Saga Paul Greene NSW 9-Dec-72 20.90 24-Sep-17 Townsville Zane Branco QLD 4-Jan-00 Aust U16 21.44 8-Dec-13 Townsville Jordon Shelley NSW 27-Feb-98 400 METRES Aust Allcomers 43.84 25-Sep-00 Sydney Michael Johnson USA 13-Sep-67 Aust National 44.38 26-Sep-88 Seoul Darren Clark NSW 6-Sep-65 Aust U20 44.75 8-Aug-84 Los Angeles Darren Clark NSW 6-Sep-65 Aust U18 45.96 19-Aug-89 Saga Paul Greene NSW 9-Dec-72 Aust U16 47.99 13-Dec-19 Brisbane Jack Boulton VIC 15-Jun-04 800 METRES Aust Allcomers 1:43.15 4-Mar-10 Melbourne David Rudisha KEN 17-Dec-88 Aust National 1:44.21 20-Jul-18 Monaco Joseph Deng VIC 7-Jul-98 Aust U20 1:45.91 28-Jul-95 Lindau Paul Byrne VIC 29-Jan-76 Aust U18 1.47.24 11-Dec-93 Canberra Paul Byrne VIC 29-Jan-76 Aust U16 1:51.41 11-Dec-88 Canberra Mark Holcombe VIC 21-Aug-73 1000 METRES Aust Allcomers 2:17.67 14-Jan-88 Melbourne -
Online Exhibition David Smith. Sprays
Press Release Online Exhibition David Smith. Sprays hauserwirth.com Live Date: 7 July 2020 Hauser & Wirth announces an online exhibition featuring the late post-war American artist David Smith (1906- 1965), including six virtual museum loans alongside significant works spanning from 1958 until 1964. ‘David Smith. Sprays’ is curated by the artist’s daughters and co-presidents of the David Smith Estate, Candida and Rebecca Smith, and Dr. Jennifer Field, Executive Director of the David Smith Estate. The pioneering body of work is presented with walkthrough films of the virtual exhibition space created in HWVR. With thanks to contributing museums: Albright-Knox Art Gallery, Buffalo, New York; Harvard Art Museums/ Fogg Museum, Cambridge, MA; Hirshhorn Museum and Sculpture Garden, Washington, DC; Nasher Sculpture Center, Dallas; The Fine Arts Museums of San Francisco/de Young Museum, San Francisco; The Museum of Fine Arts, Houston. ‘I belong with painters, in a sense; and all my early friends were painters because we all studied together. And I never conceived of myself as anything other than a painter because my work came right through the raised surface and color and objects applied to the surface’. – David Smith, 1960 The in-depth digital presentation celebrates Smith's innovative approach to the newly available medium of aerosol paint and the consequent interplay between colour, form and the drawn image. The Sprays represent a direct and unmediated form of expression that provide a vital counterpoint to Smith’s metal work. When creating a sculpture, Smith would often place components of the work in progress on white-washed areas of his shop floor, before joining them together. -
Modernist Delicacy David Smith at 100 Sara Krulwich/The New York Times Art Review | ‘David Smith’ by HOLLAND COTTER
Friday, February 03, 2006 Modernist Delicacy David Smith at 100 Sara Krulwich/The New York Times Art Review | ‘David Smith’ By HOLLAND COTTER SISSIES were second-class citizens in mid-20th-century American culture. And Smith’s mostly modest-size sculptures are set wide apart on the ramps, leaving art was a he-man’s game: booze, broads, Sasquatch manners, the whole nine expanses of white wall. This allows Wright’s spiral to assume its famously diffused yards. Sure, a little sensitivity was O.K., as long as you didn’t get carried away. It’s glow. And it lets Smith’s dark metal sculptures be exactly what Ms. Giménez says as if there was a sign at the Cedar Bar door: Girlie-men need not apply. Except they are: drawings in space. In short, what you get is a Guggenheim experience as this picture isn’t quite right. Look at the art. De Kooning painted the way Tamara well as a David Smith experience, which add up to a Modernism experience, with Toumanova danced, with a diva’s plush bravura. all the optical rigor and boutique-spirituality Pollock interwove strands of pigment as if he that that implies. were making lace. The sculptor David Smith, the biggest palooka of the Abstract Expressionist As in any career survey, an artist’s personality crowd, floated lines of welded steel in space the is also in play. Smith said that where you found way Eleanor Steber sang Mozart’s notes, with an his art, you would find him. And he makes an unbaroque fineness, an American-style delicacy. -
WHY ARE AUSTRALIAN RACE WALKERS AMONGST the BEST in the WORLD? by BOB CRUISE
WHY ARE AUSTRALIAN RACE WALKERS AMONGST THE BEST IN THE WORLD? by BOB CRUISE While our Australian racewalking efforts pale into insignificance when compared with the Russian experience, we have consistently performed above expectations in the sport of racewalking and are currently looked upon as one of power houses. It is indeed timely that Bob Cruise has forwarded the following to me for review. Why are Australian race walkers amongst the best in the world? Last year, just prior to the Olympics, I was asked by Tim O’Shannesy, distance running development officer with Athletics Australia, why I thought Australian race walkers were so good and whether the walking community had a master plan? Tim’s question encouraged me to reflect on why our walkers are where they are today in the international arena. Our recent and past success is due to many factors and influences. Some of these are listed below. 1. The National Family of Race Walking: Race walking in Australia is a small and relatively coherent group of enthusiasts. It is characterised by a number of clubs that have been in existence for nearly 100 years and numerous others that are prepared, in often difficult circumstances and frequently in an environment that in many cases in neither supportive nor encouraging, to provide for administration, coaching and competition. Race walking has groups of followers in all states of Australia, that, despite the above, continue to pursue and support race walking at a local, national and when appropriate at international level. When comparing race walking to any other track and field discipline in Australia it is very apparent that the followers and participants of race walking are members of a dedicated and committed family. -
Redefining the Art Experience : from Static to Temporal Art Forms
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 1998 Redefining The Art Experience : From Static To Temporal Art Forms Justine McKnight Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Modern Art and Architecture Commons, and the Theory and Criticism Commons Recommended Citation McKnight, J. (1998). Redefining The Art Experience : From Static To Temporal Art Forms. https://ro.ecu.edu.au/theses/1450 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1450 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. -
John D. Graham Will Be on View at the Museum of Modern Art from August I3 Through October I3
//(f The Museum of Modern Art No. 81 \';'-,! 53 street, New York, N.Y.. 10019 Tel. 245-3200 Cable: Modernart FOR RELEASE: Tuesday^ August I3, I968 PRESS PREVIEW: Monday, August 12, I968 11 A.M. - k P.M. Xwenty-seven drawings and paintings by the Russian-born artist John D. Graham will be on view at The Museum of Modern Art from August I3 through October I3. Eila Kokkinen, Assistant Curator for Drawings of the Museum's Department of Drawings and Prints, has selected this group of his later works which includes portraits of women, self portraits, and other subjects reflecting his absorption in astrology, numerology, and other occult and mystical systems. Graham had been among the vanguard of American abstract art in the 30's, but he developed in these works of the ifO's and 50's a unique figurative style based on Renaissance painting. Graham, who died in I96I, was born Ivan Dabrowsky in Kiev. An enigmatic figure, he created an aura of myth about himself. Even the date of his birth is not certain, though he was in his thirties when he came to the United States in I920 and began to study painting for the first time at the Art Students League, His work was soon recognized, and he had one-man shows in Paris in I928 and I929, and in the latter year he was exhibited at the Phillips Memorial Gallery, Washington, and the Dudensing Galleries, New York. Although his work is not well known to the general public, Graham himself was well known to the New York art world of the 30's through his activities as a collector and artist. -
Abstract Expressionism Annenberg Courtyard: David Smith 1
Large Print Abstract Expressionism Annenberg Courtyard: David Smith 1. Introduction and Early Work Do not remove from gallery Audio tour Main commentary Descriptive commentary 1 Jackson Pollock, ‘Male and Female’ 1 Abstract Expressionism Main Galleries: 24 September 2016 – 2 January 2017 Contents Page 4 Annenberg Courtyard: David Smith Page 6 List of works Page 9 1. Introduction and Early Work Page 12 List of works ExhibitionLead Sponsor Lead Sponsor Supported by The production of RA large print guides is generously supported by Robin Hambro 2 Burlington House 1 2 4 3 You are in the Annenberg Courtyard 3 Annenberg Courtyard Abstract Expressionism David Smith b. 1906, Decatur, IN – d. 1965, South Shaftsbury, VT As the key first-generation Abstract Expressionist sculptor, David Smith created an output that spanned a great range of themes and effects. The works here represent four of the climactic series that Smith produced from 1956 until his untimely death in 1965. They encompass rising forms that evoke the human presence (albeit in abstract terms) and others in which a more stern character, by turns mechanistic or architectonic, prevails. 4 The Courtyard display seeks to recreate the spirit of Smith’s installations in his fields at Bolton Landing in upstate New York. There, not only did each sculpture enter into a silent dialogue with others, but they also responded to the space and sky around them. Thus, for example, the dazzling stainless-steel surfaces of the ‘Cubi’ answer to the brooding, inward darkness of ‘Zig III’. Often, Smith’s imagery and ideas parallel concerns seen throughout Abstract Expressionism in general. -
David Smith Sculpture on View
FOR RELEASE Wednesday, Sept. 11, 1957 Press preview: THE MUSEUM OF MODERN ART Tuesday, Sept. 10, 1957 11 WEST 53 STREET, NEW YORK 19, N. Y. 11 a.m. - h p.m. TELEPHONE: CIRCLE 5-8900 No. 8^ SCULPTURE BY DAVID SMITH ON VIEW AT MUSEUM Ihe first one-nan exhibition of the sculpture of David Smith will be on view at the Museum of Modern Art, 11 West 53 Street, from September 11 through October 20. Or ganized and installed by Sam Hunter, Associate Curator of the Department of Painting and Sculpture, it includes J>k sculptures and a limited number of paintings and draw ings. Nine sculptures in the show have never before been exhibited: Chicago II and The Five Spring of 1956; and Sentinel III, Sentinel IV, 0 Drawing, Pilgrim, Portrait of a Lady Painter, Detroit Queen and Personage of May, all from 1957• Covering the period from 1936 to the present, but concentrating on the last decade of the artist's activity, the exhibition is part of a series devoted to middle-generation artists in America and Europe, entitled "Artists in Mid-Career." Now 51, David Smith has been one of the important innovators in contemr porary American sculpture, and a pioneer in welded iron and steel constructions. His first iron sculpture was made in 1933. Mr. Hunter says in the catalog* accompanying the exhibition that in his use of metals, "Smith is distinguished from his American contemporaries...by an adherence to strict forms, by his almost exclusive use of the more obdurate materials, iron and steel, and by a basically constructivist esthetic, which is re lieved -
ATHLETICS AUSTRALIA AUSTRALIAN RECORDS AS at 18Th July 2019
ATHLETICS AUSTRALIA AUSTRALIAN RECORDS AS AT 18th July 2019. MEN EVENT PERF. DATE VENUE NAME STATE 100 METRES Aust Allcomers 9.86999999999999923-Sep-00 Sydney Maurice Greene USA Aust National 9.93 5-May-03 Mita, JPN Patrick Johnson ACT Aust U20 10.15 1-Jul-18 Finland Jake Doran QLD Aust U18 10.38 11-Dec-15 Perth Jack Hale TAS Aust U16 10.67 7-Dec-13 Townsville Jordon Shelley NSW 200 METRES Aust Allcomers 19.92 25-Feb-99 Melbourne Frankie Fredericks NAM Aust National 20.06 16-Oct-68 Mexico City Peter Norman VIC Aust U20 20.48 3-Feb-85 Brisbane Fred Martin NSW Aust U18 20.90 6-Nov-82 Sydney Darren Clark NSW 20.90 19-Aug-89 Saga Paul Greene NSW 20.90 24-Sep-17 Townsville Zane Branco QLD Aust U16 21.44 8-Dec-13 Townsville Jordon Shelley NSW 400 METRES Aust Allcomers 43.84 25-Sep-00 Sydney Michael Johnson USA Aust National 44.38 26-Sep-88 Seoul Darren Clark NSW Aust U20 44.75 8-Aug-84 Los Angeles Darren Clark NSW Aust U18 45.96 19-Aug-89 Saga Paul Greene NSW Aust U16 48.12 7-Dec-88 Sydney Paul Greene NSW 800 METRES Aust Allcomers 1:43.15 4-Mar-10 Melbourne David Rudisha KEN Aust National 1:44.21 20-Jul-18 Monaco Joseph Deng VIC Aust U20 1:45.91 28-Jul-95 Lindau Paul Byrne VIC Aust U18 1.47.24 11-Dec-93 Canberra Paul Byrne VIC Aust U16 1:51.41 11-Dec-88 Canberra Mark Holcombe VIC 1000 METRES Aust Allcomers 2:17.67 14-Jan-88 Melbourne Michael Hillardt QLD Aust National 2:16.09 17-Jun-14 Ostrava Jeffrey Riseley VIC Aust U20 2:20.5 6-Jan-94 Melbourne Paul Byrne VIC Aust U18 2:23.1 7-Jan-93 Melbourne Michael Power VIC Aust U16 2:28.7 7-Jan-92 Melbourne -
David Smith's
David Smith’s Timeless Clock (1957) Jennifer Field, PhD Executive Director of the David Smith Estate ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ David Smith was born in 1906 in Decatur, Indiana, a small, midwestern town in the United States. At the time of Smith’s upbringing, the region was characterized by innovation and self-sufficiency. Smith later recalled: When I was a kid, everyone from the whole town was an inventor. There must have been fifteen automobiles made in Decatur, Indiana, and they were all put together in parts by all kinds of people. Just two blocks from where I lived there were guys building automobiles in an old barn. Invention was the fertile thing then. Invention was the great thing. … There was never any art involved. … The inventors in Decatur were the heroes.1 David Smith, Timeless Clock, 1957, silver, 20 3/8 x 26 x 6 1/2 in., Anderson Collection at Stanford University, Gift of Harry W. and Mary Margaret Anderson, and Mary Patricia Anderson Pence, 2014.1.026 ■ ■ ■ The sculpture 3 4 As an adult, Smith would apply his own practical experience 1 in mechanical labor to become the first artist in America to radically redefine notions of sculpture – most famously by welding together found utilitarian objects such as farm tools and machine parts using a combination of advance planning and improvisation, rather than through traditional methods of casting or carving. Smith’s work would help to define the New York School generation of artists and influence the direction of contemporary sculpture. After working a number of jobs in the Midwest such as laying telephone cable and doing assembly line work at a Studebaker 6 automobile factory, Smith moved to New York City in 1926 to study art.2 Like many members of the New York School, he studied at the Art Students League where, until 1931, he took classes in painting with the Czech modernist Jan Matulka. -
Risks and Rewards the Early Years the 1930S Focus 1 Photography In
5 RISKS AND REWARDS 7 THE EARLY YEARS 11 THE 1930S 28 FOCUS 1 PHOTOGRAPHY IN THE 1930S 31 FOCUS 2 WELDING 32 FOCUS 3 MEDALS FOR DISHONOR 37 WAR AND ITS AFTERMATH: THE 1940S 50 FOCUS 4 HELMHOLTZIAN LANDSCAPE 52 FOCUS 5 PHOTOGRAPHING SCULPTURE 57 MATURITY: THE 1950S 90 FOCUS 6 DRAWINGS AND SPRAYS 94 FOCUS 7 THE WORKING PROCESS 99 FULL FLOWER: 1960–5 122 FOCUS 8 VOLTRI 132 FOCUS 9 CUBI 138 FOCUS 10 THE FIELDS 142 CHRONOLOGY 14 5 FURTHER READING 146 LIST OF WORks RISKS AND REWARDS The ambition, imagination and innovation of the sculptor David Roland Smith (1906–1965) altered the course of modern art. Over the passing decades the sweeping diversity of his forms developed steadily, like those of a great symphony in space. It is vital, though, to grasp the revolutionary aspects of Smith’s achieve- ment in context and its great import for his successors. Welding – which Smith was the first to develop fully as a sculptural process in the United States – is now such a common technique that it is hard to imagine the process ever having been daringly new. Yet Smith’s decision to establish his workshop in the industrial site of the Brooklyn Navy Pier in New York in 1933 was unprecedented – most sculptors then used a bronze foundry, a marble quarry, or a conventional studio. Smith fundamentally recast the artist’s role and persona. When he chose to move in 1940 to the rural isolation of upstate Bolton Landing in the Adirondacks, Smith left the buzzing New York art world behind to synthesize his own workspace, combining industry and nature. -
Tim Erickson
Tim Erickson 1976 IAAF World Champs Malmo 50 km 23rd 4:20:23 1978 Commonwealth Games Edmonton 30 km 3rd 2:26:33 1979 Racewalking World Cup Eschborn 50 km 25th 4:03:17 1982 Commonwealth Games Brisbane 30 km 6th 2:19:45 1983 Racewalking World Cup Bergen 50 km 25th 4:15:12 The following has been taken from Peter Waddell’s ‘History of Australian Walking’. I am indebted to Peter for this generous appraisal. Tim Erickson, born 23 November 1950, raced at 5ft 8in and 145 lbs. He was a member of Ivanhoe Harriers and was trained by John Boas who was at one time the Australian National Walking Coach. Tim's walking career commenced in 1966 as a junior and was interrupted in 1968 to concentrate on his studies. It was not until April 1973 that he resumed racing as a 22 year old and he showed immediate potential over the long distances. He was 5th in the Australian 50 km title in his first year and by 1974, his times over the shorter distances were starting to come down. In that year he gained a third place in the Victorian 20 km championship and broken 100 mins for the first time. In 1975, he really began to show what he was capable of and won the Australian 50 km in Perth in 4:33:04. He followed this up with a new Australian record for the 50 miles which he covered in 8:14:46. But just when the gates seemed to be opening, he was beaten into second place in the 1976 Victorian 20 km championship by Willi Sawall, a relative newcomer to race walking, who equalled Noel Freeman’s Australian record.