Sign in  |  Register

The New Criterion

It operates as a refuge for a civilizing element in short supply in contemporary America: honest criticism
- The Wall Street Journal

Art

September 1997

David Smith at Storm King

by Karen Wilkin

On the first installment of The Fields of David Smith at the Storm King Art Center, Mountainville, New York

Visitors to “The Fields of David Smith” at the Storm King Art Center are likely to come away feeling confused and enlightened—confused because Smith will seem as elusive as ever and enlightened because they will have gained a truer understanding of the enigmatic, apparently inexhaustible work of this extraordinary artist.[1] The show is neither tidy nor designed to help viewers pigeonhole Smith, but that is exactly why it does deepen our sense of what he was about. Instead of a neatly organized sequence, a wide-ranging assortment of Smith’s sculptures, both large and small, in a variety of media, has been installed throughout Storm King’s indoor exhibition spaces and extending to the generous adjacent lawns. There are muscular, chunky works and slender, linear ones; dense, intricately constructed pieces and others pared down to essentials; b ...

This article is available to subscribers and for individual purchase

Subscribe to TNC (Print and Online editions)

Subscribe to TNC (Online only)

Purchase article credit and clip this article

If you already have an account login first

Karen Wilkin is an independent curator and critic.


more from this author

This article originally appeared in The New Criterion, Volume 16 September 1997, on page 40

Copyright © 2015 The New Criterion | www.newcriterion.com

http://www.newcriterion.com/articles.cfm/davidsmithstormking-wilkin-3294

E-mail to friend


The New Criterion

By the author

Who was John Quinn?

by Karen Wilkin

A look back on John Quinn's life and work.

Gaitonde at the Guggenheim

by Karen Wilkin

On “V. S. Gaitonde: Painting as Process, Painting as Life” at the Solomon R. Guggenheim Museum.

An El Greco Trifecta

by Karen Wilkin

Reviews of “El Greco in New York” at The Metropolitan Museum of Art, New York, “El Greco at the National Gallery and Washington-Area Collections: A 400th Anniversary Celebration,” and “El Greco at The Frick Collection.”

You might also enjoy

Exhibition notes

by Mario Naves

On "The Forever Now: Contemporary Painting in an Atemporal World” at the Museum of Modern Art, New York.

Exhibition notes

by Christie Davies

On "Rubens and His Legacy: Van Dyck to Cézanne” at the Royal Academy of Arts, London.

Exhibition note

by Mario Naves

On "Peter Blume: Nature and Metamorphosis" at the Pennsylvania Academy of the Fine Arts.

Most popular

view more >

Subscribe to our newsletter!

* indicates required

Webcasts

The Walter Duranty Prize for Journalistic Mendacity
On May 5, 2014, The New Criterion and PJ Media presented the second Walter Duranty Prize for Journalistic Mendacity. The award is given to highlight egregious examples of dishonest reporting. Also awarded this year was the Rather, a new award for lifetime achievement in mendacious journalism.
The Duranty Prize is named after Walter Duranty, the New York Times Moscow corresponded in the 1920s and 1930s who whitewashed Joseph Stalin’s forced starvation of the Ukrainians (the Holodomor) and many other aspects of Soviet oppression. Duranty was awarded the Pulitzer Prize in 1932 for his efforts. It has never been revoked.
Audio copyright Ed Driscoll, www.eddriscoll.com.


Introduction to The Kennedy Phenomenon
Roger Kimball introduces The Kennedy Phenomenon, a conference presented by The New Criterion on Tuesday, November 19.


The Kennedy Phenomenon: "Watching the Kennedy Train-Wreck"
Roger Kimball reads Peter Collier’s paper on oft-overlooked unsavory details of the Kennedys' lives. Much of the paper is drawn from Collier’s book, coauthored with David Horowitz, The Kennedys: An American Drama.

Weblog