new-york

Tony Smith

Fourcade, Droll

If on first study Tony Smith’s sculpture threatens to seem too scientific, too thorough in its exploitation of a restricted vocabulary of forms, a closer consideration finds it breaking down into unconnected interests. The forms would seem to require a sharp, crystalline edge in execution, but often the bronze has been polished soft at the corners, almost to the extent of suggesting an intervening plane. One is hard pressed to decide whether this is done by design or simply tolerated in the conviction that the form will suggest itself beyond the contingencies of workmanship.

The large, networklike pieces show this effect. They resemble models of molecules in crystal and cover space in a way that suggests infinite, creeping extension. Their titles reinforce the suggestion: Smog, for instance. But the smaller pieces, each consisting of two or three branches of metal, come to resemble soap

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