Please Note: Excessive Heat Warning – 12PM Friday through 8PM Saturday
The Hudson Valley is currently under a severe heat warning. Storm King does not have air-conditioned spaces. If you are planning to visit, please bring plenty of water, sunscreen, and dress appropriately.
Storm King Art Center at Parsons School of Design presents David Smith: Artists Respond
6:30pm — 8:00pm
David Smith, American, 1906-1965. Primo Piano II, 1962. Steel, painted, stainless steel, and bronze. 85 x 158 x 15in. (215.9 x 401.3 x 38.1 cm). The Estate of David Smith, courtesy Hauser & Wirth. © The Estate of David Smith / Licensed by VAGA New York, NY. Photo by Jerry L. Thompson.
Corin Hewitt and Erin Shirreff in discussion with Sarah Hamill
Artists Corin Hewitt and Erin Shirreff reveal moments of intentional and unexpected intersection between their practices and the life and work of David Smith. The program is inspired by Storm King’s forthcoming exhibition David Smith: The White Sculptures, opening May 13, 2017. This event is presented by Storm King Art Center at Parsons School of Design.
This event, presented at Parsons School of Design, will be held at:
The Bob and Sheila Hoerle Lecture Hall/Hoerle Lecture Hall, UL105
The New School University Center
63 Fifth Avenue
General Admission $10; Storm King Member Admission $5. More information and tickets available here.
Corin Hewitt treats both objects and images as socially and temporally defined events. Hewitt’s process-centered practice seeks a productive conversation between the things being made and the means employed. He utilizes an array of processes including photography, video, archeological practice, composting, performance, algorithms, installation and sculpture as ways to think through this approach. Solo exhibitions of his work include the Whitney Museum of American Art, MOCA Cleveland, the Atlanta Contemporary Arts Center, and the Seattle Museum of Art. His work has been included in group exhibitions at the Astrup Fearnley Museum of Modern Art, Oslo; Extra City Kunsthal, Antwerp; the Memmo Foundation, Rome; the Sao Paolo Biennial in Brazil ; the Whitney Museum, New York; the Henry Art Gallery, Seattle; Galerie Perrotin, Paris; with the Public Art Fund in New York; and the Wanas Foundation in Sweden. Hewitt was a recipient of the 2014-5 American Academy Rome Prize, a Guggenheim Memorial Foundation Fellowship in 2011, and a Joan Mitchell Fellowship in 2010. In 2015, Mousse Publications released a 300-page monograph, entitled Seven Performances featuring six years of work.
Erin Shirreff lives and works in Brooklyn, New York. Her work has been the subject of recent solo exhibitions at the Kunsthalle Basel, Switzerland (2016); Albright-Knox Art Gallery, Buffalo (2016); the Institute of Contemporary Art, Boston (2015); and Sikkema Jenkins & Co. (2015). Recent group exhibitions include Photography Today: Distant Realities, Pinakothek der Moderne, Munich (2016); L’image volée, Fondazione Prada, Milan (2016); Photo-Poetics: An Anthology, Guggenheim Museum, New York (2015); and Never Enough, Dallas Museum of Art (2014). Shirreff was an artist-in-residence at the Chinati Foundation, Marfa (2011), and Artpace in San Antonio (2013), and is the recipient of a Louis Comfort Tiffany Foundation Grant. Her work is in the permanent collections of the Metropolitan Museum of Art, the Centre Pompidou, LACMA, The Museum of Modern Art, MCA Chicago, and Yale University Art Gallery, among others.
Sarah Hamill is Assistant Professor of Modern and Contemporary Art History at Oberlin College, Ohio. She is the author of David Smith in Two Dimensions: Photography and the Matter of Sculpture (University of California Press, 2015), as well as numerous essays on David Smith’s work across media. With Megan R. Luke, she co-edited the volume Photography and Sculpture: The Art Object in Reproduction (Getty Publications, forthcoming 2017). Her article on Erin Shirreff’s videos, “Surface Matters: Erin Shirreff’s Videos and the Photography of Sculpture,” is forthcoming from Art Journal in 2017. Hamill is currently preparing a new book on Mary Miss’s sculptures and films of the 1970, and an article on the role of the photographic detail in the historiography of sculpture.
David Smith: The White Sculptures is made possible by generous lead support from the Bafflin Foundation, Agnes Gund, Hauser & Wirth, the Helen Frankenthaler Foundation, and the National Endowment for the Arts. Support is also provided by Candida Smith and Carroll Cavanagh and The Henry Moore Foundation. Additional support is provided by The Helis Foundation, and the Robert Lehman Foundation, Inc. Support for the exhibition catalogue is provided by Furthermore: a program of the J.M. Kaplan Fund.
Support for education-related programming is provided by the Sidney E. Frank Foundation, and artist talks are made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.