Displaying items by tag: tony smith

On Saturday, January 31, 2015, the Wadsworth Atheneum in Hartford, Connecticut, will unveil its reinstalled collections of post-war and contemporary art. Featuring work from 1945 to the present, the collections will be housed in three dedicated galleries that have been newly renovated and refurbished over the past year.

The Wadsworth’s illustrious post-war and contemporary holdings will be divided between the Huntington Gallery, where mid-century abstract painting and sculpture by artists such as Ellsworth Kelly, Willem de Kooning, Alexander Calder, Helen Frankenthaler, Jackson Pollock, Mark Rothko, and Tony Smith will be displayed; the Hilles Gallery, which will feature works by Robert Rauschenberg, Kara Walker, Cindy Sherman, Andy Warhol, Chuck Close, and Richard Tuttle; and the Colt building’s mezzanine gallery, where one of Sol LeWitt’s famed wall drawings will be on view as well as works by other minimalists and conceptualists.

Storm King Art Center, a sprawling sculpture park in New Windsor, New York, has acquired three contemporary works through major long-term loans. The sculptures include “Source” (1967) by American minimalist Tony Scott, “Royal Tide 1” (1960) by monochromatic master Louise Nevelson, and “Broken Obelisk” (1967) by Abstract Expressionist Barnett Newman.

Guests who enter through the Center’s Museum Hill entrance are greeted by “Source,” Smith’s monumental black painted-steel sculpture. First exhibited at Documenta IV in Kassel, Germany, in 1968, “Source” is among Smith’s most dynamic large-scale sculptures and exemplifies the painted black outdoor works for which he is best known.

When was the last time an expert from a top auction house dispensed with longtime allegiances and joined forces with someone from the enemy camp? In the fiercely competitive world of Sotheby’s and Christie’s, such an occurrence is rarer than a prized Vermeer.

But for months now there have been rumors that a new powerhouse partnership was in the works, one that would replace Giraud, Pissarro, Ségalot, the superprivate superdealer that pulled off so many big transactions and whose business began winding down soon after Franck Giraud, one of its partners, announced that he was leaving to “explore options inside the art world and out.”

The players making up this new venture, however, had been something of a guessing game.