The New Criterion is probably more consistently worth reading than any other magazine in English.
ArtMarch 2006 Exhibition note "David Smith: A Centennial" at the Solomon R. Guggenheim Museum, New York. On the occasion of David Smith: A Centennial, the marvelous exhibition that has been organized this winter at the Solomon R. Guggenheim Museum by Carmen Giménez, I am obliged to declare an interest. For it would be improper for me to pretend to write about Smith with an attitude of critical impartiality. I have not only admired Smiths work since I first encountered it half a century ago, but I also have written a good deal about it. I had the good fortune of having many conversations with Smith about his life and work, and often visited his studio, which he called the Terminal Iron Works, in upstate New York. In 1960, when I was working as the editor of Arts Magazine, I devoted a Special Issue of that journal to Smiths worka decision that was not then universally acclaimed, to say the least. Smith had never enjoyed the kind of celebrity that came early to Jackson Pollock ... This article is available to subscribers and for individual purchaseSubscribe to TNC (Print and Online editions) Subscribe to TNC (Online only) This article originally appeared in The New Criterion, Volume 24 March 2006, on page 46 Copyright © 2009 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/david-smith-kramer-1518
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