can through the text in the image and use quotes from the text in order to support your answer. write in paragraph form: Krauss states that Cubi XIX is not an abstract sculpture. What does the sculpture reference and why does this theme interest Smith? Do you think the sculpture is fascinating as one first perceives it, in its abstract, formal representation, without the additional reference? Or does knowing about the artist's intention for the sculpture make it more fascinating?

surrealist sculpture. But there, as in Giacometti's 1932 Table (fig. 124) or his 1930-31 Suspended Ball (fig. 81). the human object/table assembly was used as a goad to, rather than an embargo on, possession, As we saw earlier, Giacometti's work is couched within the very terms of sexual possession-as a narrative prolongation of those fantasies of desire-that V.D XXIII is determined to reject. The sign, perhaps even the success, of Smith's creation of a formal language that would act to thwart the sur. realist impulses toward possession, was that Smith's ma- ture work was for so long understood as purely abstract sculpture. Throughout the 1950s and 1960s his major pieces appeared, to others, to be nonrepresentational," which seems to have been caused by a heightening of the principle of discontinuity, The discontinuity that exists between the separate views of Blackburn began to work within any given view, to disrupt the coherence between separate elements, to prevent the viewer from seeing them coalesce Into a recognizable image. For a long time this is the way the Cubis were read-that last series in which Smith assembled monumental sculpture from building blocks which he fabricated of gleaming stainless steel. The broad, planar surfaces of these sculptures glinted with the meandering tracks of a carborundum wheel, and radiated a world of optical defraction, a sense of the able. image submerged and lost beneath a web of burnished line. Critics were tempted to draw an analogy between Paris the surfaces of the Cubis and the imageless painting of the Jackson Pollock. But Cubi Ff (fig. 125) is not abstract. It clearly continues the theme of the upright totem figure, using the glitter of the burnished surface as one more resource to insure a sense of formal distance between viewer and object. Similarly, Cube XIX (fig. 126) carries forward into the later work the image of the altar table/ still life. Despite the spareness and noncommittal geometry of their parts, these late sculptures do maintain Smith's earlier thematic allegiances, The work's formal impact continues to act within the arena of an imagery devoted to violent possession and its abjuration. In Zig IV (fig. 127), the repertory of curved sheet steel geometries