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David Smith is generally known as the most important, creative American sculptor who produced “an art capable of withstanding the best of international scrutiny.” Smith’s work, characterized as linear, pictorial, was the result of adaptation of welding technique to sculpture. Therefore, it is not surprising that his work was regarded as the only alternative to carving and modeling continued in the 1930s. Smith himself took pride in the fact that he first used arc welding as a conceptual means in sculpture in 1937.
However, his attitude towards the welding technique was drastically changed in the early 1950s. Smith’s emphasis on the imaginative form over the welding technique resulted from his contact with the New York Group in the late 1940s and the early 1950s. Thus the period is more than just his transitional period. Many writers, however, have directed little attention to this period. In this paper, I shall focus on his works of this period in conjunction with an analysis of his writings and reveal how his aesthetic vision was formed.
In the late 1940s after Smith’s employment at the American Locomotive Company and his construction of a workshop at Bolton Landing, which had cut him off from the ferment of ideas, he began to meet other artists and critics who were known as the New York Group. The first opportunity was provided by the annual Woodstock conferences in 1947, through which Smith could resume keeping in touch with fellow artists and critics. His acquaintance with Herman Cherry, chairman of the Woodstock Education Committee gave him another way of keeping in contact with the New York Group. The fact that Smith’s work after his contact with the New York Group underwent a great change indicates that the group deeply influenced him. I will examine the influence of the New York Group in terms of James Joyce’s stream-of-consciousness technique, Australian Aboriginal art and Ernst Kris’ psychoanalysis.
In the 1940s and 1950s, Joyce’s writing attracted not only Smith but also many Abstract Expressionists, including Jackson Pollock, Robert Motherwell, Ad Reinhardt, Philip Guston, Barnett Newman. A main characteristic of Joyce’s writing which appealed to them was his stream-of-consciousness technique. However, Smith’s interest in Joyce’s stream-of-consciousness was more than an interpretation of history. His interest in Joyce was the result of his effort to find an alternative to a perverted “word world” which he frequently rejected. It is not a coincidence, therefore, that Smith’s sculpture named Letter is mentioned in relation to Finnegans Wake whose central symbol is also a letter.
Smith’s interest in primitive culture did not begin in the late 1940s, nor was it confined to Australian Aboriginal culture only. Most of his Abstract Expressionist contemporaries were also interested in primitive culture and particularly in the Native American culture. Their interest was an attempt to understand the way that the primitive or savage mind was thought to function. In the process, they saw the primitive as representing the fundamental, elemental nature of humanity, and their concept of the primitive was broadened to include world traditions of many cultures. Australia seems, however, to have been a significant place for Smith. In fact, it seems conceivable that Smith would have thought of Australian Aboriginal art as a symbol of primitive culture in general. Australian Aboriginal art and culture also gave him confidence for linear style in sculpture as a means to express his artistic vision.
Ernst Kris’ book Psychoanalytic Explorations in Art, in which he applies his psychoanalytic knowledge to the study of art and creative process, contains much mention of primitive culture and a review of Frederick J. Hoffman’s psychoanalytic approach to Finnegans Wake. The book is like an aggregate of Smith’s interests in art, psychoanalytic theory, primitive culture and James Joyce. Therefore, Kris seems to have most deeply influenced Smith’s concept of art. Kris’ influence can be seen in his emphasis on the imaginative form over technical skill and his change in attitude to the viewer. This change gives us a basis for interpreting some of Smith’s works such as Hudson River Landscape, Blackburn, Song of an Irish Blacksmith and Canopic Head.
In this paper I have tried to look into the influence of the New York Group on David Smith. In the process I could view his work from a quite different angel, and thereby get a useful tool for clarifying its motives and meanings. Among the influence of the New York Group, Emst Kris seems, especially to have been influential in Smith’s concepts of reality and art. Thus, it is not an exaggeration to say that Smith’s work of the early 1950s is a visual version of Kris’ book.
However, his attitude towards the welding technique was drastically changed in the early 1950s. Smith’s emphasis on the imaginative form over the welding technique resulted from his contact with the New York Group in the late 1940s and the early 1950s. Thus the period is more than just his transitional period. Many writers, however, have directed little attention to this period. In this paper, I shall focus on his works of this period in conjunction with an analysis of his writings and reveal how his aesthetic vision was formed.
In the late 1940s after Smith’s employment at the American Locomotive Company and his construction of a workshop at Bolton Landing, which had cut him off from the ferment of ideas, he began to meet other artists and critics who were known as the New York Group. The first opportunity was provided by the annual Woodstock conferences in 1947, through which Smith could resume keeping in touch with fellow artists and critics. His acquaintance with Herman Cherry, chairman of the Woodstock Education Committee gave him another way of keeping in contact with the New York Group. The fact that Smith’s work after his contact with the New York Group underwent a great change indicates that the group deeply influenced him. I will examine the influence of the New York Group in terms of James Joyce’s stream-of-consciousness technique, Australian Aboriginal art and Ernst Kris’ psychoanalysis.
In the 1940s and 1950s, Joyce’s writing attracted not only Smith but also many Abstract Expressionists, including Jackson Pollock, Robert Motherwell, Ad Reinhardt, Philip Guston, Barnett Newman. A main characteristic of Joyce’s writing which appealed to them was his stream-of-consciousness technique. However, Smith’s interest in Joyce’s stream-of-consciousness was more than an interpretation of history. His interest in Joyce was the result of his effort to find an alternative to a perverted “word world” which he frequently rejected. It is not a coincidence, therefore, that Smith’s sculpture named Letter is mentioned in relation to Finnegans Wake whose central symbol is also a letter.
Smith’s interest in primitive culture did not begin in the late 1940s, nor was it confined to Australian Aboriginal culture only. Most of his Abstract Expressionist contemporaries were also interested in primitive culture and particularly in the Native American culture. Their interest was an attempt to understand the way that the primitive or savage mind was thought to function. In the process, they saw the primitive as representing the fundamental, elemental nature of humanity, and their concept of the primitive was broadened to include world traditions of many cultures. Australia seems, however, to have been a significant place for Smith. In fact, it seems conceivable that Smith would have thought of Australian Aboriginal art as a symbol of primitive culture in general. Australian Aboriginal art and culture also gave him confidence for linear style in sculpture as a means to express his artistic vision.
Ernst Kris’ book Psychoanalytic Explorations in Art, in which he applies his psychoanalytic knowledge to the study of art and creative process, contains much mention of primitive culture and a review of Frederick J. Hoffman’s psychoanalytic approach to Finnegans Wake. The book is like an aggregate of Smith’s interests in art, psychoanalytic theory, primitive culture and James Joyce. Therefore, Kris seems to have most deeply influenced Smith’s concept of art. Kris’ influence can be seen in his emphasis on the imaginative form over technical skill and his change in attitude to the viewer. This change gives us a basis for interpreting some of Smith’s works such as Hudson River Landscape, Blackburn, Song of an Irish Blacksmith and Canopic Head.
In this paper I have tried to look into the influence of the New York Group on David Smith. In the process I could view his work from a quite different angel, and thereby get a useful tool for clarifying its motives and meanings. Among the influence of the New York Group, Emst Kris seems, especially to have been influential in Smith’s concepts of reality and art. Thus, it is not an exaggeration to say that Smith’s work of the early 1950s is a visual version of Kris’ book.
목차
1. 서언
2. 1940년대 후반의 데이비드 스미스와 뉴욕 미술계
3. 원시미술과 무의식
4. 결언
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