The below text of a speech, given by American sculptor David Smith (1906-1965) at Deerfield, Massachusetts in 1952, is taken from “Art in Theory: 1900-2000 : An Anthology of Changing Ideas (New edition)”, ed. Charles Harrison and Paul Wood (Blackwell Publishing, 2003), 586.

david-smith-with-cigarI wish to present my conclusions first and start my presentation backward.

Time is a new dimension in sculpture, and since I don’t accent bulkmass and prefer open delineation and transparent form – so that the front views through to the back – the same method by statement may work as well.

To the creative artist, in the making of art it is doubtful whether aesthetics have any value to him.

The truly creative artist deals with vulgarity.

Nobody understands art but the artist.

Affection for art is the sole property of the artist. The majority approach art with hostility.

 

The artist deserves to be belligerent to the majority.

The artist is a product of his time, and his belligerence is a defense and not a preference.

There is no such thing as a layman. The layman is either an art lover or an art rejector.

The viewer of art, the art lover, has the privilege of accepting or rejecting. But there is no such thing as a layman. He is either a pretender or the verbalizer.

Masterpieces are made today.

Aesthetics are written conclusions or directives. The creative artist should not be impressed by verbal directives. His aesthetics are primarily unconscious and of a visual recording. No words or summations are involved. The artist does not deny aesthetics or the history of art. The myth in art, the history of art, are both enjoyed and used, but they are utilized by the memory of vision which is the only language in which the artist who made the work of art intended it to be understood.

I have spoken of the artist’s use of the vulgar. But this term I use because, to the professional aesthetician, it is a vulgarity in his code of beauty, because he has not recognized it as yet or made rules for its acceptance. To the creative artist it is his beauty, but to the audience, who will wait for the aesthetician’s explanation, it is too new and has not yet hammered its way into acceptance. It will not conform to the past, it is beyond the pale. Art aestheticians can only make conclusions or discourse after the work of art is made. The birth of the idea, the concept, is the important act in the work of art.

Nobody understands art but the artist because nobody is as interested in art, its pursuit, its making, as the artist. This need eliminate no one from enjoying any art – if they do not limit it with preconceived notions of what art should be or demand confinement in which it should stay. The true way to understand the work of art is to travel the path by visual response, similar to the method the artist used in arriving at the work.

Does the onlooker realize the amount of affection which goes into a work of art – the intense affection – belligerent vitality – and total conviction? To the artist it must be total to provide satisfaction. Does the critic, the audience, the philosopher even possess the intensity of affection for the work which its creator possessed? Can they project or understand this belligerent vitality and affection which contemporary art possesses? Or do they deal in the quality at all? Is this emotion too highly keyed – is it outside their lives? Or are they too skeptical? Or do they need written confirmation and general acceptance before they will let their own natural response be admitted to themselves?

David Smith with Australia in the fields at Bolton Landing 1951All the artists I know find survival and the right to work by means other than the sale of their work. Their work speaks solely by their own conviction. They are not beholden to tradition or directives other than their own. Any artist must meet the world with his work. When he meets the world, what is his aim? Is there a need for aim, if the inner convictions and drive are so great that he will not settle for anything short of the fact that being an artist – and to exercise his mode of expression – is the most important pursuit in the world?

Since the artist cannot exist outside his time, certain social pressure has affected him, certain critical opinion has directed him. He feels the majority rejection, so for whom does he make art? For himself first, for the opinion of other artists next, and specifically those artists in his own mores and in his own aesthetic realm. But his world and his realm is the same world that all others inhabit. He has no secret code or key, no special foresight, environment, brilliance, erudition. He exercises the right of vision – projection – by his own choice. His preference is to be a working and recognized member of his culture, and to have his work accepted. [. . .]

Yes, masterpieces are made today. Masterpieces are only works of art that people especially like. The twentieth century has produced very many. Present-day, contemporary America is producing masterpieces – a virile, aggressive, increasing number of painters and sculptors not before produced here. [. ..]

The aesthetics of contemporary American art have not been written. The forward movement does not have a name. Its heritage is certainly post-Fauvist, Post-Cubist, post-Expressionist, post-purist, post-Constructivist. But there are certain outstanding elements involved. One of the forces is freedom, and a belligerent freedom, to reject the established tradition of the verbal aestheticians, philosophers, and critics; instead to express emotionally and directly with the artist himself as subject, without concession to the classic routine, still life, sex, mono-object and the other historic forms. Possibly this is too free, too defiant, to accept that the soul of man’s total belief can be the subject of art. No subject is taboo in art. Why cannot the nature of man himself be the subject? There is no order but the order of man. Yet this is great order. There is not even form, as we traditionally know it. There is no chiaroscuro of solid bodies; now space becomes solid, and solids become transparent. Why should we worry that sculpture isn’t chiaroscurally solid? Concept is more important than chiaroscuro. Nothing is really unsolid. Mass is energy, space is energy, space is mass. Whether such things are scientific facts is very, very unimportant. Art is poetic. It is poetically irrational. The irrational is the major force in man’s nature. And as such the artist still deals with nature. Neither artist nor audience can deal with concepts that are not nature.

 

Image Courtesy Estate of David Smith/VAGA, NY