Royal Academy of Arts- Abstract Expressionism: Outside sculptures

On the 1st of December, I went to the Abstract Expressionism exhibition in the RA. Before you entered the exhibition there was these four sculptures by David Smith. David Smith was shown quite a lot through the exhibition of nearly every sculpture shown was Smith's. 

Photo- I took of the book that I got at the exhibition

Abstract Expressionism

Davis Smith

b.1906, Decatur, IN; d.1965, South Shaftsbury, VT

As the key first-generation Abstract Expressionist sculptor, David Smith created an output that spanned a great range of themes and effects. The works here represent four of the climactoc series that Smith produced from 1956 until his untimely death in 1965. They encompass rising forms that evoke the human presence (albeit in abstract terms) and others in which a more stern character, by turns mechanistic or architectonic, prevails.

The Annenberg Courtyard display seeks to recreate the spirit of Smith's installations on his fields at Bolton Landing in upstate New York. There, not only did each sculpture enter into a silent dialogue with others, but they also responded to the space and sky around them. Thus, for example, the Cubi's dazzling stainless-steel surfaces answer to the brooding, inward darkness of Zig III.

Often, Smith's imagery and ideas parallel concerns seen throughout Abstract Expressionism in general. As such, further pieces by Smith stand at crucial junctures in the Academy's galleries in order to amplify this sustained interaction between sculptor and painters, two and three dimensions. 

The four sculptures had a very interesting relationship with the space, Sir Joshua Reynolds' statue and the exhibition itself. 

Photo of 1. Zig III, 1961
Painted steel

Photo of 1. Zig III, 1961
Painted steel

Photo of 2. Sentinel V, 1959
Stainless steel

Photo of 2. Sentinel V, 1959
Stainless steel

Photo of 4. Voltri Bolton X, 1962
Steel

Photo of 4. Voltri Bolton X, 1962
Steel

Photo of 3. Cubi XXVII, 1965
Stainless Steel

Smith's sculptures relationship with the space, really opened up the exhibition to the audiences in my opinion, through the way the sculpture gives you a pick into the exhibition without going in. Maybe even if someone has got a ticket, might get interested with the sculptures and get one to see more. Also, because Smith was a key first-generation Abstract Expressionist sculptor, for his work to be outside as the first look to the exhibition, it shows the importance of the artist within this movement and the show itself. (key note, for a practical way these sculptures of Smith's are too big and heavy to be placed within the building).

The sculptures were laid out like this:

Photo of layout of sculptures

Photo of the pieces on the layout

Also the layout makes sure that his different coloured sculptures are shown in different areas for a contrasting effect between the darker and lighter sculptures.

The relationship between Smith's sculptures and Sir Joshua Regnolds statues is that all of them are sitting on a concrete plinth to rest them off the group to give them more important than everything else around them. However, Sir Joshua Regnolds statue is rested higher because of his importance for the Royal Academy through its history. The interesting thing this that the plinth makes all the different pieces of art in the same type of important by resting them. But with that the old style of Sir Joshua Regnold statue and the abstract sculptures of Smith are now in the same important even though they are very much different works.     

Self portrait of Sir Joshua Reynolds

Sir Joshua Regnolds
(16 July 1723- 23 February 1792)
He was a founder and first president of the Royal Academy of Art, and was Knighted by George III in 1769.

Photo, take I took of Sir Joshua Reynolds statue

Photo, take I took of Sir Joshua Reynolds statue

Overall, I felt that Smith's outside sculptures were a very interesting opening view of the Abstract Expressionism exhibition and has opened me to seeing a new way to lay out my own work.