SOMA Living August 2024

ART

Tau, a presence that configures 6,000 pounds of steel, is a monumental sculpture by South Orange native and world renowned art- ist Tony Smith. The work is bold and singular, but appearing modular, offering many van- tage points. The work represents nothing, while being a mirror for its surroundings. Tau is as open to interpretation as a viewer is to its acceptance. Tony Smith grew up in the Great Depres- sion. Born to a manufacturing family, he at- tended Fordham, then Georgetown University, and returned to open a used bookstore in Newark. Smith began courses at the Art Stu- dents League and studied in Chicago at the New Bauhaus. In 1938 he worked for Frank Lloyd Wright, as a brick layer and later be- came commissioned to design and build struc- tures under his own name. Eventually Smith reconnected with his “art”, and taught design at Hunter College, then the Cooper Union, Pratt Institute, NYU and Bennington College, Vermont. During this time Smith was influenced by New York’s circle of abstract painters and friends Jackson Pollock and Mark Rothko, who would visit Smith’s studio; a spacious sculpture garden, adorned with his wooden maquettes and rigid forms, located behind his home on Stanley Road in Montrose Park. ist Tony Smith. The work is bold and singular, but appearing modular, offering many van tage points. The work represents nothing, while being a mirror for its surroundings. Tau is as open to interpretation as a viewer is to its acceptance. Tony Smith grew up in the Great Depres sion. Born to a manufacturing family, he at tended Fordham, then Georgetown University, and returned to open a used bookstore in Newark. Smith began courses at the Art Stu dents League and studied in Chicago at the New Bauhaus. In 1938 he worked for Frank Lloyd Wright, as a brick-layer and later be came commissioned to design and build struc tures under his own name. Eventually Smith reconnected with his “art”, and taught design at Hunter College, then the Cooper Union, Pratt Institute, NYU and Bennington College, Vermont. During this time Smith was influenced by New York’s circle of abstract painters and friends Jackson Pollock and Mark Rothko, who would visit Smith’s studio; a spacious sculpture garden, adorned with his wooden maquettes and rigid forms, located behind his home on Stanley Road in Montrose Park. In 1962 Smith created Die, a six-foot steel cube, establishing his footing as a premiere What is TAU, who is Tony Smith? WHAT IS TAU, WHO IS TONY SMITH?

This biggest “Smith effect” is the legacy of Tony Smith., who inspired the following gener- ation of American artists including Sol LeWitt and sculptor Richard Serra among many oth- ers associated with this movement known as “Minimalism”. Smith spent his life collecting influences and honing his talent across the fields of art, design, and architecture, which he generously shared with any student or con- temporary who dared to pick up a pencil and turn it into a career. The Smith residence on Stanley Road was a gathering place for many creatives that rig- orously developed then unknown art forms. This environment inspired his children Kiki and Seton to also become professional artists on their own. Tau was installed in Meadowland park in 2003 and was gifted by the Tony Smith Estate. The installation was organized Judy Wukitsch and the Lennie Pierro Memorial Arts Founda- tion, seeking to enrich the lives of South Or- ange and visitors from all communities. Tony Smith died in 1980 at the age of 68. The Estate of Tony Smith is represented by Pace Gallery, New York. Tau can be seen everyday in Meadowland Park on the Corner of Ridgewood Road and Mead Street. Conrtibuted by Jason Rulnick Tony Smith., who inspired the following gener ation of American artists including Sol LeWitt and sculptor Richard Serra among many oth ers associated with this movement known as “Minimalism”. Smith spent his life collecting influences and honing his talent across the fields of art, design, and architecture, which he generously shared with any student or con temporary who dared to pick up a pencil and turn it into a career. The Smith residence on Stanley Road was a gathering place for many creatives that rig orously developed then unknown art forms. This environment inspired his children Kiki and Seton to also become professional artists on their own. Tau was installed in Meadowland park in 2003 and was gifted by the Tony Smith Estate. The installation was organized Judy Wukitsch and the Lennie Pierro Memorial Arts Founda tion, seeking to enrich the lives of South Or ange and visitors from all communities. Tony Smith died in 1980 at the age of 68. The Estate of Tony Smith is represented by Pace Gallery, New York. Tau can be seen everyday in Meadowland Park on the Corner of Ridgewood Road and Mead Street. Conrtibuted by Jason Rulnick on behalf of the South Orange Arts Advisory Committee

In 1962 Smith created Die, a six-foot steel cube, establishing his footing as a premiere American artist. While the specific inspira- tion is unclear, as a viewer would approach this mass, there is no doubt their own mortali- ty comes into question. The scale and weight, enough to obliterate anything in its path, gave new meaning to what it is “to sculpt”. Sculpture was no longer just what you bumped into when backing up to look at a painting. Perhaps Smith’s biggest break was his inclu- sion in the Jewish Museum’s 1966 exhibition ‘Primary Structures’ which opened the door for his work at an increasingly larger scale. He became featured at prominent institutions in- cluding the Wadsworth Athenaeum in Hart- ford, the Museum of Modern Art, New York, The Venice Biennale, and the National Gal- lery in Washington D.C. American artist. While the specific inspira tion is unclear, as a viewer would approach this mass, there is no doubt their own mortali ty comes into question. The scale and weight, enough to obliterate anything in its path, gave new meaning to what it is “to sculpt”. Sculpture was no longer just what you bumped into when backing up to look at a painting. Perhaps Smith’s biggest break was his inclu sion in the Jewish Museum’s 1966 exhibition ‘Primary Structures’ which opened the door for his work at an increasingly larger scale. He became featured at prominent institutions in cluding the Wadsworth Athenaeum in Hart ford, the Museum of Modern Art, New York, The Venice Biennale, and the National Gal lery in Washington D.C. This biggest “Smith effect” is the legacy of

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