#tony smith sculpture

[ilovejoyjessie]

6 Things.

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This is one of my favorite shots from Hidden Figures #3 and perhaps the entire series. Normally, you might not want to see a couple of birds photobomb your portrait. But the fact that these were two black crows, joining myself and my fellow black figures - right in a space that was open for them - the shot felt so balanced. The theme of longing for belonging felt reiterated, with blessings from nature itself - even with my moment of civil disobedience, hopping the rope to join the scene. This photo felt so right, so properly timed - something that might be difficult to recreate. And I'm grateful this moment happened.

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scroll along the blog to weave with me between the steel pieces of Tony Smith's "Wandering Rocks" and the thoughts and feelings behind my necessitation to place myself within it, even for a moment, for this series...

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+ photographed by @skyclad.studio (ig) // website

[itsalltooloud]

i had a hyperspecific meme idea

[eddie-redmayne-italian-blog]

Eddie Redmayne and Wife Hannah Bagshawe Twin at the 2024 Met Gala

The 'Cabaret' actor attended the annual event just days after he received a Tony nomination

By Victoria Edel

Eddie Redmayne and his wife Hannah Bagshawe were couple goals at the 2024 Met Gala as they hit the green carpet in coordinating outfits. 

“We’re wearing matching outfits!” Redmayne, 42, delightfully told Vogue red carpet hosts Gwendoline Christie and Ashley Graham on May 6.  “This is by a gentleman called Steve O. Smith, a young designer. He’s had two collections. He’s an extraordinary man and an extraordinary designer.” 

Both husband and wife’s looks featured big black blotches on layers of white tulle. Bagshawe’s outfit featured a tea-length dress with a matching sculptural hat, gloves and pointy black boots. Meanwhile, the Fantastic Beasts star’s outfit was a long, tulle blazer with the same black ink-spots, a tie and black oxford shoes. 

Redmayne currently stars on Broadway as the Emcee in Cabaret, a role he also played on London’s West End in 2021. On April 30, Redmayne received a Tony nomination for the part.

“I just saw you live,” Graham, 36, told the actor Monday night. “I was in the front row, and I have to say your character, you embody that character!” 

“I hope I wasn’t too lascivious,” Redmayne joked. Of the show, which is set in Germany in 1929, he said, “We’re having the most amazing time. The show is in the round. When you come from 52nd Street, you step into this whole world of the Weimar Republic. The audience is so electric.”

'Sleeping Beauties': The 2024 Met Gala Theme Explained — and How Stars Will Interpret the Dress Code

He also praised his costar, Gayle Rankin, who received a Tony nomination as well. 

Redmayne also teased his upcoming TV series, The Day of the Jackal, adding that he’s “playing an assassin who wears quote debonaire suits — probably not tulle skirts!”

Redmayne previously wore one of Smith’s designs for Cabaret’s Broadway opening night earlier this spring. The Oscar winner is also Tony-nominated as one of the show’s producers, and previously won a Tony in 2010 for the play Red. 

Redmayne and Bagshawe, 41, have been married since 2014. They share two children, daughter Iris, 7 1/2, and son Luke, 6. The couple have attended the Met Gala together many times, including the 2023 event.

See all of PEOPLE’s Star-Studded Met Gala Coverage in One Place!

The Met Gala was a rare night off for Redmayne, who performs in Cabaret eight times a week.

"You live like a monk," he explained of the intense Broadway schedule during the April 25 episode of  Live with Kelly and Mark.  "It’s sort of this odd thing where you’re inviting audiences to come and have a hedonistic, sort of all-consuming evening and yet, you are only drinking water, not speaking, all that stuff."

"The role itself is quite a workout, but I have this brilliant man called Greg who is sort of this icon on Broadway in that he is the man who keeps people upright," the Good Nurse actor explained. "I go and see him, I saw him last night. He’s a masseuse. But as much as I love him, and I have great respect for you Greg, he’s horrendous. It’s absolute agony. It’s that sort of thing where you think the pain, it must be doing something, right?"

"I was telling this to Greg last night, he was like, ‘Eddie, your body, it’s broken.’ And it makes you feel so heroic," he added. "‘Yeah, I’m the toughest Emcee in the world!’ " Redmayne’s production is the fifth Broadway production of Cabaret. Most recently, Alan Cumming played the Emcee in both the 1998 and 2014 revivals.

https://people.com/eddie-redmayne-hannah-bagshawe-matching-outfits-met-gala-2024-8644343

[katiajewelbox]

Halloween Countdown 2024 Day 3!

What if Gargoyles weren't just inanimate stone sculptures? Any visitor to Mediaeval cathedrals like Notre Dame in Paris will notice the stone carvings of chimerical creatures adorning the buildings' exteriors. Centuries ago, sculptors created these whimsical monsters to ward off evil from churches and remind people of the difference between the earth and the divine.

However, what is a deranged sculptor ended up inviting evil into the church with his sinister gargoyles? This is the premise of horror master Clark Ashton Smith's tale of supernatural terror set in the fictional Mediaeval French city of Averoigne. Bloodthirsty, lustful gargoyles come to hideous life and wreak havoc by night!

If you enjoy ghost stories and other literary horrors, I highly recommend the channel associated with this video, Tony Walker's Classic Ghost Stories. In this era of endless remakes and franchise movies, I often think that film makers could create something fresh by delving into the archives of classic horror. This story would make a fantastic movie especially with the current CGI and special effects!

#halloween2024#Halloween#halloweencountdown#gargoyles#mediaeval#Cathedral#clarkashtonsmith#horrorfiction#supernatural#literature#classichorror#audiobook#shortstory

[brown-little-robin]

Distracting asks: 2, 3, 4, 8, 21, 23

heya! <33

2: Name something you want to read?

hmmm... I'd like to try Murder on the Orient Express sometime! Also, I want to get into more shoujo (girls') manga—I'm particularly interested in Yona of the Dawn.

3: 5 songs you have been recently obsessed with?

Light & Darkness (English cover by Riverdude) from the Phantom Blood musical. What a thing to exist!! A choral + rap song explaining the social upheaval of the Industrial Revolution as a backdrop to the campy goodness of the 1880s vampire-hunting story of the first arc of JoJo's Bizarre Adventure. Pure musical goodness. XD

蛍の光 (Hotaru no Hikari), a Japanized version of Auld Lang Syne. I associate it with Dimple from mp100 for... reasons.

Burn It Down by Vixy & Tony, which I discovered because @gumy-shark (hi!) mentioned it as a Shou Suzuki song. and it IS. :']

Stupidity Tries by Elliott Smith. It's on my Diamond is Unbreakable playlist :) it's a cute song!

Passenger by Nico Touches the Walls. Japanese rock. There's nothing particularly special to say about it; I just think it's neat.

bonus: Living Dying Message by 9mm Parabellum Bullet! it's just a really banger song!!!

4: What are you watching?

Over the Garden Wall and Diamond is Unbreakable: part four of JoJo's Bizarre Adventure!

8: Name something you are looking forward to?

Long-term, I'm looking forward to firing the kiln again; I have... SO MANY SCULPTURES waiting to shine. I'm talking literally a hundred sculptures, the product of two years of work. In the short term, I'm looking forward to Mob Night with Friend tonight >:] we're gonna meet TERU!!!

21: What is something you have been meaning to try?

um... hm... oh! I want to try making an easy frog plushie. or maybe a manta ray. the cold season is nearly upon us, and I think it would be fun to switch up my plushie-making from the endless mice to water animals for a bit!

23: Talk about a WIP?

okay, I make no promises that this will be finished any time soon or at all, but I've been tinkering with Paternity Test, my Touichirou Suzuki Adopts Teru fic. I don't like the characterization I did the first time around, so I'm rewriting it. It involves a lot more truly awful voicemails this time around 😂

[marroquinruben]

New York gallery and Museum hop

Marlborough Gallery, Whitney Museum and Tony Smith sculptures.

[pangraphia]

Yo recorriendo el Tony Smith, “Stinger”, 1967–68/1999

“Stinger recalls an ancient structure, inviting the viewer to cross a threshold to its interior. Composed of cross sections of tetrahedral and octahedral shapes and resting on a point, it appears to hover above the ground. Originally called “One Gate,” Smith ultimately titled Stinger after the cocktail—sweet but slyly intoxicating. “

Olympic Park Sculpture, Seattle.

[icebergscrashingtogeather-10]

Also with movements in contemporary art world a lot of them are more or less meant to be this way. Think of marcel duchamp’s (fucker, booo but still works in this example) art, it was to push the boundaries of art. The items he showed were ready mades so like store naught things and signed his “name” (usually an alias). But it is art, and it challenges that.

Or Tony Smith with his sculptures they were all not produced by him he didn’t lay a finger on the pieces. The goal was not to have a singular artist work on it. No finger print of an artist.

Do yeah you could paint these that’s kinda the point. You are an artist too

abstract and modern art haters are sooo snobby like klein literally Created an entirely new pigment and then painted a canvas in a way where the brush strokes wouldn't be visible. the insinuation that people with no skill could reproduce that is so annoying because unless you are skilled at color mixing and painting you definitely couldn’t lmao

[subtlesolitude-tailoredtaste]

Art21 proudly presents an artist segment, featuring Theaster Gates, from the "Chicago" episode in the ninth season of the "Art in the Twenty-First Century" series.

"Chicago " premiered in September 2016 on PBS. Watch now on PBS and the PBS Video app: https://www.pbs.org/video/art-21-chic...

Theaster Gates first encountered creativity in the music of Black churches on his journey to becoming an urban planner, potter, and artist. Gates creates sculptures out of clay, tar, and renovated buildings, transforming the raw material of the South Side into radically reimagined vessels of opportunity for the community.

Establishing a virtuous circle between fine art and social progress, Gates strips dilapidated buildings of their components, transforming those elements into sculptures that act as bonds or investments, the proceeds of which are used to finance the rehabilitation of entire city blocks. Many of the artist’s works evoke his African-American identity and the broader struggle for civil rights, from sculptures incorporating fire hoses, to events organized around soul food, and choral performances by the experimental musical ensemble Black Monks of Mississippi, led by Gates himself.

Learn more about the artists at:

https://art21.org/artist/theaster-gates/

CREDITS | Executive Producer: Eve Moros Ortega. Host: Claire Danes. Director: Stanley Nelson. Producer & Production Manager: Nick Ravich. Editor: Aljernon Tunsil. Art21 Executive Director: Tina Kukielski. Curator: Wesley Miller. Associate Producer: Ian Forster. Structure Consultant: Véronique Bernard. Director of Photography: Keith Walker. Additional Photography: Don Argott, Brian Ashby, Steve Delahoyde, Jeremy Dulac, Damon Hennessey, Sam Henriques, Ben Kolak, Christoph Lerch, Stephan Mazurek, Andrew Miller, Christopher Morrison, Leslie Morrison, Murat Ötünç, Logan Siegel, Stephen Smith, & Jamin Townsley. Assistant Camera: Kyle Adcock, Joe Buhnerkempe, Alex Klein, Ian McAvoy, Sean Prange, & Liz Sung. Sound: Sean Demers, Alex Inglizian, Hayden Jackson, İlkin Kitapçı, Joe Leo, Matt Mayer, John Murphy, Richard K. Pooler, & Grant Tye. Production Assistant: Hamid Bendaas, Emmanuel Camacho, Chad Fisher, Elliot Rosen, Stanley Sievers, Chris Thurston, & Steven Walsh.

Title/Motion Design: Afternoon Inc. Composer: Joel Pickard. Online Editor: Don Wyllie. Re-Recording Mix: Tony Pipitone. Sound Edit: Neil Cedar & Jay Fisher. Artwork Animation: Anita H.M. Yu. Assistant Editor: Maria Habib, Leana Siochi, Christina Stiles, & Bahron Thomas.

Host Introduction | Creative Consultant: Tucker Gates. Director of Photography: Pete Konczal. Second Camera: Jon Cooper. Key Grip: Chris Wiesehahn. Gaffer: Jesse Newton. First Assistant Camera: Sara Boardman & Shane Duckworth. Sound: James Tate. Set Dresser: Jess Coles. Hair: Peter Butler. Makeup: Matin. Production Assistant: Agatha Lewandowski & Melanie McLean. Editor: Ilya Chaiken.

Artworks Courtesy of: Nick Cave; Theaster Gates; Barbara Kasten; Chris Ware; BAM Hamm Archives; Bortolami Gallery; Cranbrook Art Museum; Margaret Jenkins Dance Company; The New Yorker magazine and Condé Nast; James Prinz Photography; Jack Shainman Gallery; Sara Linnie Slocum; Chris Strong Photography; & White Cube. Acquired Photography: Sara Pooley; The Art Channel/Bobbin Productions; & University Art Museum, California State University Long Beach.

Special Thanks: The Art21 Board of Trustees; 900/910 Lake Shore Drive Condominium Association; Michael Aglion; Ellen Hartwell Alderman; Adam Baumgold Gallery; Naomi Beckwith; Biba Bell; Stefania Bortolami; Kate Bowen; Pat Casteel; Chicago Embassy Church; Coachman Antique Mall; Maria J. Coltharp; John Corbett; Department of Theatre & Dance, Wayne State University; Detroit School of Arts; Christina Faist; Bob Faust; Martina Feurstein; Julie Fracker; William Gill; Graham Foundation; Jen Grygiel; Sarah Herda; Jennon Bell Hoffmann; Sheree Hovsepian; Institute of Contemporary Art at the University of Pennsylvania; Istanbul Biennial; Nicola Jeffs; Jenette Kahn; Jill Katz; Alex Klein; Kunsthaus Bregenz; Jon Lowe; Sheila Lynch; Mana Contemporary Chicago; Christine Messineo; Laura Mott; Deborah Payne; Bishop Ed Peecher; Lisa Pooler; Rebuild Foundation; Diana Salier; Tim Samuelson; Amy Schachman; Zeynep Seyhun; Keith Shapiro; Alexandra Small; Jacqueline Stewart; Hamza Walker; Clara Ware; Marnie Ware; & Steve Wylie.

Additional Art21 Staff: Maggie Albert; Lindsey Davis; Joe Fusaro; Jessica Hamlin; Jonathan Munar; Bruno Nouril; Pauline Noyes; Kerri Schlottman; & Diane Vivona.

Public Relations: Cultural Counsel. Station Relations: De Shields Associates, Inc. Legal Counsel: Albert Gottesman.

Dedicated To: Susan Sollins, Art21 Founder.

Major support for Season 8 is provided by National Endowment for the Arts, PBS, Lambent Foundation, Agnes Gund, The Andy Warhol Foundation for the Visual Arts, and The Anna-Maria and Stephen Kellen Foundation.

©2016 Art21, Inc.

[whothef0ckisalice-hons]

Source: Continuous project altered daily The writing of Robert Morris

Chapter Two: notes on sculpture Part 2

Q: why didnt you make it larger so that it would loom over the observer? A: I was not making a monument

Q: then why didnt you make it smaller so that the observer could see over the top? A: I was not making an object

The range of useless three-dimentional things is a continuum between monument and the ornament. Sculpture has generally been thought of as objects not at the polarities but falling between. Polarity is when an entity contains two distinct and opposite poles that can either attract or repel each other

The word sculpture applies to either anything or to how a thing is put together  Every rigid body is an object 

In perception of relative size, the human body enters into the total continuum of sizes and establishes itself as a constant on that scale. One knows immediately what is smaller and what is larger than himself.  It is obvious yet important to take note of the fact that things smaller than ourselves are seen differently then things larger. The quality of intimact is attached to an object in a fairly direct proportion as its size diminishes in relation to oneself. The quality of publicness is attached in proportion as the size increases in realtion to oneself. This hold true so long as one is regarding the whole of a large thing and not a part. The qualities of publicness or privateness are imposed on things. This is due to our experience in dealing with objects that move away from the constant of our own size in increasing or decreasing dimension.

Artists Referenced in book (really not liking works that are titled untitled makes researching them a hell of a lot harder especially if they made alot of works that particular year) Tony smith, free ride, 1962 Carl andre, crib, coin, compound, 1965 Sol Lewitt, untitled, 1966 Tony smith, die, 1962 Robert morris, untitled, 1967  Donald Judd, untitled, 1967 Sol Lewitt, untitled, 1966 Larry bell, untitled, 1965 Carl andre, 144 pieces of aluminium, 1967 John McCracken, earth speed, 1987

[ilovejoyjessie]

Hidden Figures #3 (Wandering Rocks by Tony Smith) || I.

When I first saw Wandering Rocks by Tony Smith years ago I was intrigued by the piece, its whimsical spread, and its composition; but when I met with it again in 2022, after all the things I'd been through since our last meeting, I saw it with new and different eyes. This time, I found myself identifying with the beautiful onyx figures on display in the middle of the Emerald City. I saw myself in them - fellow black figures poking out of the Seattle landscape: Easy to overlook amongst the other figures around it, yet once one's eyes fall upon them, they stand out as they blend in - there because they were supposed to be but also almost out of place as compared to their larger, louder neighbors in the park.

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I was drawn to their ambiguity, their quiet and humble yet strikingly contrasted existence in the space. And identified with being a figure that some might be drawn to and appreciate and others might overlook, be unsure of how to interact with or be just plain indifferent towards.

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Entering the park again to embark on this project, I couldn't wait to meet up with the sculptural display again. And in those moments where I could run through and lay amongst the rocks, I felt emboldened and affirmed. If someone were to ask me to explain the importance of public art, my interaction with Wandering Rocks would be one of the experiences I would describe.

Though the abstract shapes I stood beside and interacted with weren't people, they felt like me. At that time, in that place, they and I resembled each other the most. They felt like community, something I find myself craving often as I exist in and around the Seattle bubble. The figures asked nothing of me, they passed no judgement; they just existed as they were; as did I. And I reveled in the chance to just exist with them - a 6th Wandering Rock - the 6th Black figure to join their group as they rolled along in their place in the park, just as any time I see a joyful group of Black figures roaming about in the city, I want to join them too...

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Because, as diverse in thought and culture as the Seattle area can be, it's no secret that many of its spaces are also very...white. I'm not unfamiliar with the phenomenon of being one of (if not the only) person of color in a room; it's one of those experiences that, for many, comes with the POC territory. And while the majority of my interactions with Emerald City citizens visually different than myself are normal, typical, ordinary, in the last couple of years, I've also noticed more and more the subtle nuances within the interactions that aren't - the interactions that reveal the curious way some in the area process my curious Black existence...

[rust2dust]

The three sculptures included in this exhibition have little in common except that an awesome scale is a major part of the content of the work. The kind of scale that acts as content is not simply a matter of size and proportion, it is a function of the way the forms appear to expand and continue beyond their physical limitations, acting aggressively on the space around them and compressing it. The intrusion of these forms into the surrounding space and their interaction with the architecture invite the viewer to consider the environment in which they are placed in the context of the sculpture. The emotional impacts of the works come largely from the fact that the spectator must consider a familiar space and must as well reassess his own size, place, and importance in terms of the work. It can be an exhilarating and even frightening experience.

This is the first time an American museum has requested three major artists to create an exhibition of works made specifically for the museum’s space.

[ID: Three black and white photographs of the sculptures Smoke by Tony Smith, The X by Ronald Bladen, and Broken Obelisk by Barnett Newman. Smoke is set within a spacious gallery with a large empty floor interrupted along its length by columns that support the balcony walkway above. A high glass ceiling sits above the second floor balcony illuminating the gallery below. Constructed of aluminum and painted black, it is a towering geometric structure that stretches upwards towards the high ceiling and crowds the walls. It’s form is composed of wide faceted beams that meet at vertices to form a sort of asymmetrical lattice structure which the viewer may walk under and between on their way across the floor, or view from the gallery above. The beams are about equal in size with a width roughly that of a tree trunk. The beams that stretch upwards from the floor are spaced irregularly at perhaps ten feet apart, and the lowest horizontally oriented beams sit about as high as a very low ceiling. The X by Ronald Bladen is also an aluminum sculpture painted black, and is situated in a similar but separate gallery space. As it’s name implies, the sculpture appears as a monumental x shaped form, simple, geometric, and symmetrical. It impresses something figural, and seems to stand firmly in the space, imposing itself upon it. What one might call it’s feet are planted firmly on opposite sides of the floor, pushing against its edges, with arms that press upwards against the second floor balcony. Broken Obelisk by Barnett Newman is a steel sculpture set in a space on the museums lawn, near the building. It is a single form but appears as two, a pyramid base supporting a broken obelisk whose tip faces downwards to rest on the tip of the pyramid as if balancing perfectly. It towers tall towards the sky, standing at roughly 25 feet. /endID]

TONY SMITH

‘SMOKE’ AT THE ‘SCALE AS CONTENT’ EXHIBITION, CORCORAN GALLERY OF ART IN WASHINGTON DC, 1967

[pointandshooter]

Tony Smith, Smug, 1973/2005 aluminum, painted black 11 x 78 x 64 feet (3 x 24 x 20 m) © Estate of Tony Smith/ Artists Rights Society (ARS), New York

Glenstone Museum campus, Potomac, Maryland

[ortut]

Tony Smith - New Piece, 1966 (Wood sculpture, painted)

[funeral]

Tony Smith, Die, 1962

[karmaalwayswins]

Art History with Travis Lee Clark “Lecture 07: Post Gestural Abstraction and Minimalism” (2021)