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railings or anything at all except the dark pavement moving through the landscape of the flats, rimmed by hills in the distance, but punctuated by stacks, towers, fumes and colored lights. This drive was a revealing experience. The road and much of the landscape was artificial, and yet it couldn't be called a work of art. On the other hand, it did something for me that art had never done. At first I didn't know what it was, but its effect was to liberate me from many of the views I had had about art. It seemed that there had been a reality there which had not had any expression in art.
184:, the Tony Smith Sculpture Project ended its partnership with the township of South Orange. Working in collaboration with the Pierro Foundation, the Tony Smith Sculpture Project hosted benefit events and other fundraisers to cover the cost of fabrication, and they identified a new site for the sculpture – one that would be less expensive to ready for installation. Kearsley drafted a new plan for installing the sculpture in Meadowland Park, in a field near a pond, and within walking distance of the town’s commercial district.
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airstrips in Europe -- abandoned works, Surrealist landscapes, something that had nothing to do with any function, created worlds without tradition. Artificial landscape without cultural precedent began to dawn on me. This is a drill ground in
Nuremberg, large enough to accommodate two million men. The entire field is enclosed with high embankments and towers. The concrete approach is three 16-inch steps, one above the other, stretching for a mile or so."
171:), the artist’s widow, donated the rights to fabricate the sculpture. Working in partnership with the local Board of Trustees, the Foundation hired landscape architect Ann Kearsley to develop a plan for situating and installing the sculpture in town. Kearsley’s 2003 proposal depicted the sculpture in the heart of the town’s commercial district, near the train station and the performing arts center, which was also in development at the time.
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The public-private partnership between the Tony Smith
Sculpture Project and the township of South Orange turned sour in 2006 when some area residents raised concerns about allocating public funds to support fabricating, installing, and maintaining the sculpture. They argued that tax dollars would be
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When I was teaching at Cooper Union in the first year or two of the '50s, someone told me how I could get on to the unfinished New Jersey
Turnpike. I took three students and drove from somewhere in the Meadows to New Brunswick. It was a dark night and there were no lights or shoulder markers, lines,
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The experience on the road was something mapped out but not socially recognized. I thought to myself, it ought to be clear that's the end of art. Most paintings look pretty pictorial after that. There is no way you can frame it, you just have to experience it. Later I discovered some abandoned
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During this period, Smith was transitioning from his 20-year career in architecture to focus on painting and making sculptures. Smith had also started teaching at Hunter
College, New York, in 1962. It took over 20 years for the piece to be installed outside the upper east side college at the 6
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s case two such solids, octahedrons and tetrahedrons. The original model for the sculpture was created by Smith in 1961–62 using his signature process of joining small cardboard tetrahedrons, a process he began while recuperating after a severe automobile accident in the spring of 1961.
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train's 68th Street entrance in 1984. In 2004, Hunter
College held an exhibition, "Tracing Tau", curated by William C. Agee that offered an insight into the sculpture and its beginnings through paper models, drawings and plans of the work.
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was installed at
Meadowland Park. On April 18, 2009, supporters of the Tony Smith Sculpture project gathered to dedicate the sculpture. Smith’s daughters,
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28:, was designed in the early 1960s. It is 14’ high x 12’ wide x 12’ deep, and made from black painted steel. Its title refers to the Greek letter Τ (
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is one of Smith's less publicized works, it is part of a body of work inspired by his oft-cited, revelatory road trip to the unfinished
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430 cm Ă— 640 cm Ă— 370 cm (168 in Ă— 252 in Ă— 144 in)
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430 cm Ă— 370 cm Ă— 370 cm (168 in Ă— 144 in Ă— 144 in)
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better spent on other projects. Debates about using public funds for art are common throughout US history.
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375:"Tony Smith: Architect, Painter, Sculptor" Robert Storr, p185 (The Museum of Modern Art, New York, 1998)
357:"Tony Smith: Architect, Painter, Sculptor" Robert Storr, p162 (The Museum of Modern Art, New York, 1998)
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398:"Tony Smith: Architect, Painter, Sculptor" Robert Storr, p30(The Museum of Modern Art, New York, 1998)
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Many of Smith's sculptures were made up of a space lattice: groupings of simple platonic solids, in
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407:"Talking with Tony" Interview with Tony Smith by Samuel J. Wagstaff (Artforum 5, December 1966)
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forms part of Smith's series of cast bronze and painted steel sculptures including
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125:. This version of the sculpture was fabricated at the Lippincott Foundry in 2005.
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with geometry at its root. There are two extant versions of the large sculpture:
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460:"Visual Shock: A history of art controversies in American culture"
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As a result of heated local controversy over funding for
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Ann
Kearsley, Landscape Architecture and Urban Design,
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Kearsley, Landscape Architecture and Urban Design,
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The Tony Smith Artist
Research Project in Knowledge
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195:and Seton Smith, as well as renowned curator
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139:designed 1961–62, fabricated 2005
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334:List of sculptures by Tony Smith
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167:in 2002. Jane Smith (aka
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462:(New York: Knopf, 2006)
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279:40.7678278; -73.9644333
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16:Sculpture by Tony Smith
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265:73°57′51.96″W
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979:Independence
884:Union Square
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796:Samuel Morse
719:Central Park
639:Central Park
616:Robert Burns
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262:40°46′4.18″N
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197:Robert Storr
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1786:Seton Smith
1365:The Tempest
1111:Other works
1032:World War I
989:John Lennon
889:Wall Street
856:Sun Yat-sen
756:Joan of Arc
277: /
251:Coordinates
79:(1965) and
51:Description
1811:Categories
1788:(daughter)
1629:Playground
1620:Gracehoper
1576:Tony Smith
1480:The Sphere
1400:Tilted Arc
1323:La Rivière
1309:Prometheus
1288:Life Force
1221:The Family
1140:Alma Mater
948:Civil War
896:John Watts
791:Golda Meir
781:JosĂ© MartĂ
525:“Timeline”
499:“Timeline”
473:“Timeline”
443:Erika Doss
418:“Timeline”
345:References
233:Dimensions
193:Kiki Smith
144:Dimensions
40:(AP), and
26:Tony Smith
1761:(1976–77)
1757:Throwback
1752:(1976–77)
1748:Throwback
1735:(1971–72)
1719:(1969–70)
1676:(1967–68)
1615:(1961–62)
1595:Cigarette
1358:Tau (1/3)
1302:Metronome
1242:The Gates
1053:Fountains
974:Holocaust
301:Tau (1/3)
213:Tau (1/3)
77:Amaryllis
1724:Light Up
1464:Ideogram
1436:The Wall
328:See also
318:New York
241:Location
152:Location
1798:Commons
1673:Stinger
1638:Moondog
1583:Works (
1502:Related
1337:Saurien
1281:Science
1277:Letters
223: (
131:Tau, AP
1769:Family
1743:(1974)
1727:(1971)
1710:(1968)
1701:(1968)
1684:(1968)
1668:(1967)
1660:(1967)
1656:Source
1651:(1967)
1642:(1964)
1633:(1962)
1624:(1962)
1599:(1961)
1429:Vessel
1119:5 in 1
626:El Cid
85:Throne
1759:(3/3)
1750:(1/3)
1717:(1/3)
1708:(3/9)
1699:(3/3)
1697:Moses
1691:(2/3)
1689:Moses
1681:Moses
1658:(1/3)
1649:(1/3)
1647:Smoke
1640:(3/3)
1631:(3/3)
1622:(2/3)
1613:(1/3)
1597:(1/3)
1422:Venus
1147:Atlas
1126:Alamo
1016:Maine
606:Balto
312:, in
290:Owner
206:(1/3)
45:(1/3)
1715:Smog
1706:Trap
1585:List
1279:and
1014:USS
939:AIDS
917:9/11
225:1961
221:1961
218:Year
136:Year
114:(AP)
57:Tau'
1611:Tau
1604:Tau
1535:Key
306:Tau
204:Tau
189:Tau
182:Tau
165:Tau
119:Tau
112:Tau
89:Tau
73:Tau
43:Tau
38:Tau
34:Tau
30:tau
21:Tau
1813::
445:,
324:.
320:,
316:,
47:.
1587:)
1568:e
1561:t
1554:v
1490:â€
1475:â€
1467:â€
1459:â€
1403:â€
1202:â€
569:e
562:t
555:v
388:.
227:)
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