Lucien Smith

"Untitled (Scrap Metal 4415), " Lucien Smith Anti-War Sculpture

2013

George Sugarman (1912 - 1999) Roland, 1970 Patinated steel 17 3/8 x 16 x 5 1/4 inches Incised with the artist's signature and numbered "15/17" on the underside Manufactured by Lippin...

Sidney Gordin Untitled, 1958 Incised with initials Welded Steel 15 x 10 1/2 x 6 inches Provenance: Eric Firestone Gallery, New York On October 24, 1918, Sidney Gordin was born in Chelyabinsk, Russia. He spent his early years in Shanghai, China. At the age of four, he moved with his family to New York. Gordin’s nephew, Eliot Nemzer recalls that when Gordin was a child he attended “a dinner party with his parents. Someone showed him a book of pictures that when thumbed through quickly made the image appear to move. This person then gave him a wad of blank papers and something to write with. Sid created a similar type of moving image with his materials. All the adults at the party became quite excited [and] praised his efforts. Sid told me he thought this was a pivotal experience in guiding him towards his vocation.” During his formative years at Brooklyn Technical High School, he briefly contemplated the idea of becoming an architect; yet, by the time he enrolled at Cooper Union, he was determined to become a professional artist. There, he studied under Morris Kantor (1896-1974) and Leo Katz...

Hayward Oubre Hitch Hiked, 1960 Signed on Base: OUBRE 60 Painted wire sculpture 45 H. x 21 W. x 19 D. inches Provenance: Estate of the Artist Deeply at...

Hayward Oubre The Trap, c. 1960 Painted wire sculpture 40 H. x 16 1/2 W. x 21 D. inches Provenance: Estate of the Artist Deeply attached to his Souther...

Sidney Gordin Untitled, 1958 Signed with initials and dated Bronze 15 1/2" high x 5 1/2" wide x 5" deep Provenance: Private Collection, Phoenix, Arizona Tim Mitchell, Phoenix, Arizona (acquired directly from the above) On October 24, 1918, Sidney Gordin was born in Chelyabinsk, Russia. He spent his early years in Shanghai, China. At the age of four, he moved with his family to New York. Gordin’s nephew, Eliot Nemzer recalls that when Gordin was a child he attended “a dinner party with his parents. Someone showed him a book of pictures that when thumbed through quickly made the image appear to move. This person then gave him a wad of blank papers and something to write with. Sid created a similar type of moving image with his materials. All the adults at the party became quite excited [and] praised his efforts. Sid told me he thought this was a pivotal experience in guiding him towards his vocation.” During his formative years at Brooklyn Technical High School, he briefly contemplated the idea of becoming an architect; yet, by the time he enrolled at Cooper Union, he was determined to become a professional artist. There, he studied under Morris Kantor (1896-1974) and Leo Katz...

Boris Margo (1920 -1995) Message I, circa 1970 Stretched canvas over relief 22 x 27 x 1 1/2 inches Best known as a painter of surrealist imagery, Boris Margo was born in Wolotschisk, Ukraine, in Russia. In 1919 he enrolled at the Polytechnik of Art at Odessa, and in 1924 received a grant to study at the Futemas (Workshop for the Art of the Future) in Moscow. A second grant enabled him to study the work of the Old Masters in the Hermitage Museum in Leningrad and to attend Pavel Filonov's Analytical School of Art in 1927. In 1928 Margo received a certificate from the Polytechnik and immigrated to Montreal, where he worked as a muralist for a year. Moving to New York City in 1930, he studied at the Roerich Museum, and two years later began teaching there. He began experimenting with celluloid and acetone in his printmaking and was also an early user of the decalomania technique in oil painting. In 1943 he became an American citizen. Five years later Margo founded a Creative Art Seminar (later called Artists Gallery) in Orlando, Florida, and a year later established a similar venture in Provincetown, Massachusetts. Margo's first solo exhibition was at the Artists Gallery in New York City. Other important shows were held at the Brooklyn Museum, the Tweed Gallery at the University of Minnesota, Duluth, and the Michael Rosenfeld...

Peter Reginato combines biomorphic shapes and painterly precision in his bright welded-steel sculptures. With their organic, lyrical forms, his pieces are a hat tip to the three-dime...

Margaret Roleke has created the sculpture “Pop,pop” specifically for the Las Gravitas exhibition at ODETTA. The title refers both to the fun and colorful hues of the piece that pop ...

A graceful metal sculpture created from altered/ transformed materials, Urban Transformation, industrial steel against a craggy, textured, bark-like bronze elements. ...

In 1972, the women’s movement was in full flower. Suzanne Benton had been an early activist, a founder and organizer of NOW Chapters, CT Feminists in the Arts, Women, Metamorphosis 1 (in New Haven, CT, the first women’s art festival in the USA). She'd already been creating metal sculpted masks and working with them in mask tale performances of Women of Myth and Heritage. Her inaugural performance of Sarah and Hagar n 1972 took place at Lincoln Center in NYC. Benton then became the artistic director and producer of an evening on Broadway, Four Chosen Women (performers included herself as mask tale performer, author Anais Nin, actress Vinie Burroughs and dancer Joan Stone). The evening took place at the Edison Theatre, November 22, 1972. While developing the evening on Broadway, Benton met renowned Swedish actress and Hollywood star, Viveca Lindfors. Viveca was then working on her solo performance, I AM A WOMAN, and was looking for a unique theatre set for the show. The happenstance that brought Viveca and Suzanne together. At that same time, recent travel to Macchu Picchu inspired her with the mountain’s great stones sitting on the edge of precipices. These vast stones led her to create welded steel Seated Sculpture Works. Viveca was intrigued by the concept and let her own imagination fly. Imagining a set of welded steel sculpture, she took the leap in commissioning Suzanne with complete faith in artist's ability to fulfill her mandate. Benton created groups of welded sculptures for two theater sets. Protection is one of three sculptures in first set created in 1973. Mother and Child, Pelvic Woman, Facing Each Other are three of five works from the 1974 second set. The first toured with her shows throughout the East Coast and into Toronto, Canada. The second set, created to nest together could travel as checked baggage for international and domestic airline travel. They flew to Denmark in 1980 for her performance at the UN sponsored 1980 Women’s International Conference, Copenhagen. In addition to creating the theatre sets, Benton mounted exhibitions of her masks and sculptures in the lobbies of theatres where she performed (NYC and Northampton). Continuing on with this theme, Becoming is her 1975 Seated Sculpture Work. The theatre sets were returned at the final end of its long run. These Seated Sculpture Works have often been featured in exhibitions, including both the 2003 and 2005 retrospectives. They are part of an oeuvre of 797 sculptures and masks. What attracted her to welded sculpture? This excerpt from her book, The Art of Welded Sculpture, Van Nostrand Reinhold, 1975 speaks of its lure: "Early in my life, when I had decided to become an artist, I had had an inner vision of being able to hold the physical material of my art in such a way as to bring it into existence with my hands. In welding, I wear a mask, a heavy apron, and gloves. I heat the metal and make it bend so smoothly and gracefully; I cut the metal, rigid metal, into endless shapes; I join the pieces by causing them to flow together with the heat of the flame. Welding was a return to my adolescent vision. It was fulfillment. At that beginning time I felt that even if I went no further, this experience in itself gave me astounding satisfaction. It was as thrilling as the moment of birth. It was my birth." (Pelvic Woman and Protection are illustrated in the book): What began in 1965 became by 2017 an oeuvre of 797 sculptures and masks. The magic of the welding mask...

A life size, powder coated mild steel sculpture, edition 1/7. Available in different colours on request.

A life size, powder coated mild steel sculpture, edition 1/7. Available in different colours on request.