Keith A. Smith

Selected Works Thumbnail View
Book Number 21, 1971 Unique artist book with photographs and stitching. 11 x 11 inchesBook Number 21, 1971 Unique artist book with photographs and stitching. 11 x 11 inches

Book Number 21, 1971

Unique artist book with photographs and stitching. 11 x 11 inches

Book Number 46, 1974 Unique artist book with 79 unbound silk-screened monoprints, boxed. 11 x 10 inchesBook Number 46, 1974 Unique artist book with 79 unbound silk-screened monoprints, boxed. 11 x 10 inches

Book Number 46, 1974

Unique artist book with 79 unbound silk-screened monoprints, boxed. 11 x 10 inches

Figure in a Landscape, 2nd State, 1966 Photo-etching, 8 7/8 x 11 7/8 inchesFigure in a Landscape, 2nd State, 1966 Photo-etching, 8 7/8 x 11 7/8 inches

Figure in a Landscape, 2nd State, 1966

Photo-etching, 8 7/8 x 11 7/8 inches

Untitled, 1985 Photo-offset with stitching. 11 x 8 1/2 inchesUntitled, 1985 Photo-offset with stitching. 11 x 8 1/2 inches

Untitled, 1985

Photo-offset with stitching. 11 x 8 1/2 inches

Aatis Lillstrom, 1965 Gelatin silver print. 10 x 8 inchesAatis Lillstrom, 1965 Gelatin silver print. 10 x 8 inches

Aatis Lillstrom, 1965

Gelatin silver print. 10 x 8 inches

Alan Undressing, 1982 Photo-etching with handcoloring, 8 x 6inchesAlan Undressing, 1982 Photo-etching with handcoloring, 8 x 6inches

Alan Undressing, 1982

Photo-etching with handcoloring, 8 x 6inches

Bus, 1968 Gelatin silver print of 8mm film mounted to board, 8.5 x 7.5 inchesBus, 1968 Gelatin silver print of 8mm film mounted to board, 8.5 x 7.5 inches

Bus, 1968

Gelatin silver print of 8mm film mounted to board, 8.5 x 7.5 inches

Book Number 15, Janson's History of Art, Revised, 1970 Unique artist book with collage. 11 3/8 x 8 7/8 x 2 inchesBook Number 15, Janson's History of Art, Revised, 1970 Unique artist book with collage. 11 3/8 x 8 7/8 x 2 inches

Book Number 15, Janson's History of Art, Revised, 1970

Unique artist book with collage. 11 3/8 x 8 7/8 x 2 inches

Larry McPherson's House at Black Mesa - Albuquerque, 1970 Cyanotype with stitched paper border, 10 x 13 inchesLarry McPherson's House at Black Mesa - Albuquerque, 1970 Cyanotype with stitched paper border, 10 x 13 inches

Larry McPherson's House at Black Mesa - Albuquerque, 1970

Cyanotype with stitched paper border, 10 x 13 inches

Margaret Looking the Other Way, 1972 Gelatin silver prints machine-sewn to cloth, 14 x 14 inchesMargaret Looking the Other Way, 1972 Gelatin silver prints machine-sewn to cloth, 14 x 14 inches

Margaret Looking the Other Way, 1972

Gelatin silver prints machine-sewn to cloth, 14 x 14 inches

My 1950 Zenith Television Set, 1974 Photo silkscreen monoprint with ink and pencil, 19 3/8 x 14 3/8 inchesMy 1950 Zenith Television Set, 1974 Photo silkscreen monoprint with ink and pencil, 19 3/8 x 14 3/8 inches

My 1950 Zenith Television Set, 1974

Photo silkscreen monoprint with ink and pencil, 19 3/8 x 14 3/8 inches

Victor, 1979 Photo-etching with pencil and watercolor, 17 x 13 1/2 inchesVictor, 1979 Photo-etching with pencil and watercolor, 17 x 13 1/2 inches

Victor, 1979

Photo-etching with pencil and watercolor, 17 x 13 1/2 inches

Other Works
PostcardsPostcards
Postcards
Prints and photographsPrints and photographs
Prints and photographs
Book 11Book 11
Book 11
Book 21Book 21
Book 21
Book 27Book 27
Book 27
Book 40Book 40
Book 40
Book 72Book 72
Book 72
Book 90Book 90
Book 90
Book 97Book 97
Book 97
Book 137Book 137
Book 137
Book 141Book 141
Book 141

 

 

 

Since the mid 1960s, Keith Smith has taken a non-purist approach to photography and book making. Smith's disinterest in categorizing his work set him apart from his peers and made him a rogue member of both the photography and printmaking departments at The School of the Art Institute of Chicago.  Smith has sewn his photographs into quilts, explored etching, drawing and transferring his images to shoes and fabrics, but sequencing his images in a  “book experience” has remained a priority throughout his career. Smith's interest in experimenting with new material and technological processes has resulted in over 280 unique artist books, where the physical object is as important as its content. His works are often radical departures from conventional books–made of string or covered in fabric, they unfold, light-up, do not open, are unbound, or punched full of holes. Time weaves back and forth in Smith's work and certain themes recur: desire, memory, poetry, image repetition, and sequence.

 

 

 

 

 

 

 

Born in 1938 in Tipton, Indiana, Smith received his B.A.E. from the Art Institute of Chicago in 1967 and his M.S. from the Institute of Design at the Illinois Institute of Technology in 1968. He has taught at the Visual Studies Workshop, UCLA, The School of the Art institute of Chicago, and the University of Illinois. Since joining Bruce Silverstein, the artist has had three solo exhibitions at the gallery.


Smith’s work has been exhibited widely in the United States and internationally, including the International Museum of Photography, George Eastman House; Galleria Civica d’Arte Moderna, Turin; Museum of Modern Art, New York; and the Royal Melbourne Institute of Technology. He was included in the Museum of Modern Art’s 1978 survey of American Photography since 1960, alongside prominent artists William Eggleston and Lee Friedlander. In 1988, the Minnesota Center for Book Arts organized a major retrospective of his work. Smith is the recipient of two Guggenheim Fellowships, a National Endowment of the Arts grant, and a Pollock-Krasner Foundation grant.


Major museum collections holding works by the artist include the Art Institute of Chicago; Center of Creative Photography, University of Arizona; Fogg Art Museum, Harvard University; International Museum of Photography at the George Eastman House; Museum of Fine Arts, Houston; Museum of Modern Art, New York; The Getty Museum, Los Angeles; and the Victoria and Albert Museum, London.


Smith is also a popular author of textbooks on books, all published by Keith Smith BOOKS, amongst them 200 Books, an Annotated Bibliography, First Edition, May 2000; Books without Paste or Glue, Non-Adhesive Binding Volume I, The Revised & Expanded Edition, 1999; and Structure of the Visual Book, Expanded Fourth Edition, 2003. He lives and works in Rochester, New York.