Picturing Autonomy: David Smith, Photography and Sculpture

Valuation Mechanisms of Fine European Tapestries in the International Auction Market

“…Moreover, we included an additional variable linked to the accuracy of the picture. Unlike flat, static paintings, tapestry is an unstable, moving medium, making the shooting of these goods a major challenge for decorative arts historians (Hamill & Luke, 2018). Therefore, it is essential for prospective buyers to have the most accurate reproduction of the work to avoid disappointment when standing in front of it.…”

Interpreting David Smith’s Photography Through a Medium-centred Model of Communication

“…She emphasizes that Smith found a unique formal language of discontinuity through photography, and hence distinguished his abstract sculpture from the surrealist totemism and the constructivist aesthetics. Hamill's (2015) monograph explains in detail how Smith used his photographs to manipulate the pictorial encounter between his sculptures and audiences. Both of them discuss David Smith's photographs in the context of the discourses of modern sculpture, sculptural aesthetics, and post-war art.…”

“…c These giant metal objects would be standing in contrast to the natural environment. Smith researcher Sarah Hamill (2015) analyses the effects of this juxtaposition strategy: first, staged photography of these iron monsters in the natural landscape dramatizes their otherness and dislocation; second, the particularly low vantage point highlights…”