“I make them and I polish them in such a way that on a dull day, they take on the dull blue, or the color of the sky in the late afternoon sun, the glow, golden like the rays, the colors of nature. . . . I have used atmosphere in a reflective way on the surfaces. They are colored by the sky and the surrounding, the green or blue of water. Some are down by the water and some are by the mountains. They reflect the colors. They are designed for outdoors.”

— David Smith

David Smith (1906–1965). Cubi XXVII, 1965. Stainless steel, 282.6 x 221.6 x 86.7 cm. Solomon R. Guggenheim Museum, New York 67.1862. © Estate of David Smith / Licensed by VAGA, New York, NY

In 1961 Smith began work on a new series titled Cubi that would eventually consist of 28 monumental sculptures in stainless steel. The Cubis can be identified by the focus on volumetric, geometric form, and polished stainless-steel surfaces. These huge sculptures, some of them more than ten feet high, continue to demonstrate Smith’s interest in gravity-defying relationships and asymmetrical balance.

Smith arrived at the compositions of his Cubis by working through ideas using cardboard models (maquettes) that he constructed in three dimensions from old cardboard boxes and cartons. Once he settled on a configuration the stainless-steel volumetric forms were ordered to his specifications from a factory. These hollow forms were then welded together into the final sculpture.

Once assembled Smith used an electrically powered polishing disk to clean the welds and inscribe the surfaces with gestural marks that Smith likened to brush strokes. The burnished surfaces both absorb and reflect light, so that the appearance of the sculptures changes according to the weather and time of day, an effect Smith enjoyed. He believed that this method created “a structure that can face the sun and hold its own against the blaze and the power.”

Some of the Cubis are vaguely figural, while others, such as Cubi XXVII, suggest architecture. This example is one of three Cubis usually referred to as “Gates” (although Smith called them “arches”), which frame a central opening. By including a precariously placed cylinder and two small tilted blocks that balance on edge, Smith adds elements of energy and surprise to an otherwise stable configuration.

• Find a wall where you can project the image of Cubi XXVII to its full size. Describe your reactions to the work.
• Cubi XXVII has been likened to gates, arches, and architecture. In what ways is it like and unlike each of these references? Are there additional structures or objects that it reminds you of? What are they? Describe the relationship that you see.
• Like many of Smith’s sculptures Cubi XXVII was meant to be placed outside. Imagine that this work has been given as a gift to the town or city you live in. Where would be the best place for it to be permanently installed? Why? Compare the site you have chosen with those of your classmates.
• One of the identifying features of the Cubi series is Smith’s unique treatment of surface. He felt that by using polished stainless steel, his work would reflect the quality of light and atmosphere. Do you think he was successful? Explain. Over the course of his career, Smith experimented with many materials and surfaces for his sculptures, including polishing, painting (sometimes with many coats of vivid color) and leaving them to rust. Imagine Cubi XXVII with another surface. Describe how it would change the impact of the work.

• Smith experimented with various two-dimensional methods for visualizing his ideas. One involved using cardboard shapes, or other found objects, that he would arrange on a sheet of paper and then spray paint the surface. When the cardboard was removed it left a stenciled image. Smith called these “think pieces” or “sprays.” The results might serve as sketches for his sculptures. Try making your own. This project is best done outside. First, cover a wide area with a plastic tarpaulin to protect against errant spatters. On a sheet of paper arrange cardboard shapes, and/or discarded, relatively flat, found objects. When you are pleased with your arrangement, partially fill a spray bottle (the kind used for misting plants) with a non-toxic ink or paint diluted with water. Spray over the surface and then carefully remove the objects.
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• When you have done several “sprays,” consider which one might make a successful sculpture. If you could transform it into a three-dimensional sculpture what material(s) would you use? What size would it be? How would you treat the surface? What title would you give it? Where would you place it when completed?
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• Smith created his maquettes from cardboard boxes and cartons. Over the course of a month collect a large variety of boxes in different sizes and shapes. Smith believed that having an abundance of materials to choose from was essential, so collect much more than you think you will need. Work in a group with a few other students to create a three-dimensional, standing sculpture from the boxes you have collected. Lengths of wooden dowels along with tape can be used to connect the boxes. Consideration should also be given to the surface treatment of your work. When finished display your creation inside or outside of your school, but remember that unlike Smith’s work that was fabricated in materials designed for prolonged outside exposure, cardboard boxes are vulnerable to the elements.
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• Smith was at the height of his creative powers when he tragically died in an auto accident in 1965. He had created 28 works in this last series. Research other works in the Cubi series. Using any digital graphics software, create a computer-generated drawing that suggests what Cubi XXIX might have looked like had Smith continued his work. Compare your creations with those of your classmates and be ready to explain the connections to the rest.
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