David Smith (1906-1965) est largement consid\u00e9r\u00e9 comme l'un des artistes les plus remarquables du 20e si\u00e8cle. D'un point de vue conceptuel, il n'\u00e9tait plus question pour lui de faire une distinction entre la sculpture, la peinture et le dessin. Ses \u0153uvres tirent une grande partie de leur force de cette approche radicalement ouverte. M\u00eame si le physique pur des sculptures en acier soud\u00e9 poss\u00e8de une forte impression industrielle, leurs surfaces sont toujours marqu\u00e9es par des apparences gestuelles et haptiques qui r\u00e9sultent de l'application manuelle de la peinture. L'impact de son travail r\u00e9side entre autres dans son insistance sur le fait que la sculpture a la m\u00eame signification visuelle que la peinture et le dessin, et que la peinture et le dessin ont le m\u00eame effet spatial. Le pr\u00e9sent catalogue couvre 21 \u0153uvres, de la fin des ann\u00e9es 1950 \u00e0 1965, et documente ainsi son \u00e9volution \u00e0 l'aide d'une riche iconographie, dont des photos historiques provenant des archives de la succession de David Smith. David Smith, n\u00e9 en 1906 \u00e0 Decatur, Indiana, a d'abord fr\u00e9quent\u00e9 l'universit\u00e9, notamment celle de l'Ohio, avant de s'installer \u00e0 New York en 1926, o\u00f9 il a commenc\u00e9 \u00e0 \u00e9tudier \u00e0 l'Art Students League. Au d\u00e9but des ann\u00e9es 1930, il se concentrait enti\u00e8rement sur la sculpture, soudant des constructions \u00e0 partir d'objets trouv\u00e9s et de m\u00e9tal forg\u00e9. En 1940, il s'installe \u00e0 Bolton Landing, \u00e0 l'ext\u00e9rieur de New York, o\u00f9 il am\u00e9nage un atelier richement \u00e9quip\u00e9 de mat\u00e9riaux et d'outils industriels dans un b\u00e2timent d'usine. D\u00e8s la fin des ann\u00e9es 1950, il a install\u00e9 des \u0153uvres monumentales dans le paysage vallonn\u00e9 entourant son atelier. En 1965, David Smith est d\u00e9c\u00e9d\u00e9 dans un accident de voiture pr\u00e8s de Bennington, dans le Vermont. David Smith a montr\u00e9 la voie \u00e0 des artistes tels que John Chamberlain, Mark di Suvero, Donald Judd et Richard Serra, car c'est lui qui a lib\u00e9r\u00e9 le lieu de production des sculptures des restrictions de l'atelier d'artiste du 19e si\u00e8cle et des fonderies d'art pour le relier au contexte industriel du 20e si\u00e8cle.<\/p>\n
Exposition :
\nHauser & Wirth Zurich, 12\/6-18\/9\/2016<\/p>","protected":false},"excerpt":{"rendered":"
Catalogue d'exposition, \u00e9dit\u00e9 par Hauser & Wirth
\nTextes (eng.) de Peter Stevens, Michelle White, Neil Wenman
\n144 p. avec 80 illustrations en couleur et 50 illustrations en duotone
\nformat 30 x 20,5 cm, toile avec 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