SEPTEMBER 29, 2015 THROUGH JANUARY 23, 2016 MARSHALL M. FREDERICKS SCULPTURE MUSEUM

7400 Bay Road n University Center, MI 48710 n 989-964-7154 n www.marshallfredericks.org Foreward and Curatorial Statement Acknowledgements

When Skip (William) Davis, a Detroit Both artists share a great interest in A grant from the Michigan Council My purpose in creating this exhibition area art collector, asked me some time music. Jay loved Russian opera for Arts and Cultural Affairs (MCACA) is to honor two distinguished ago if I might consider an exhibition and introduced Sergio to Modest and the National Endowment for artists with deep Detroit connections. based on the theme of “master and Mussorgsky’s masterpiece Borís the Arts (NEA), along with operational For over five decades, Jay Holland student” that would show the work Godunóv and Enrico Caruso’s Italian support from Saginaw Valley State and Sergio De Giusti have relentlessly of two well-known and respected opera singing. Sergio recalls Jay University made the FRAGMENTA: devoted themselves to the cultural Michigan artists, I asked him to tell playing Caruso’s music for his students Holland/De Giusti exhibition possible. arts — as artists, instructors, mentors, me more. Subsequently, he sent me an in all of his classes. and community builders. They I wish to thank these agencies for exhibition concept proposal, which I both display their mastery of the The friendship that began in 1960 at recognizing the value and importance responded to enthusiastically. fundamental classic figure, and the DIA and continued through all of the arts in our lives and for each has evolved and created their Skip’s proposal read: “Detroit of these years seems to be based on a supporting museums that exhibit the own individual, expressive, and sculptors Jay Holland and Sergio De love of art and classical music, and work of our gifted artists. interpretive style. The fragmented, Giusti are monuments themselves in a mutual respect for each other. As Jay I want to acknowledge our elected fractured, textured, archaeological, the art world. Not only have they both says, “we are friends forever after.“ officials in Lansing and Washington and mythological references been recognized internationally for While Jay and Sergio have been in who support the MCACA and the NEA of their works are mysterious and their mastery in the classical genre, several group shows together, with an annual budget allocation, memorable. Please enjoy the but they have distinguished themselves FRAGMENTA is only their second the result of which is a healthy cultural virtuosity and versatility of these two as artists, instructors and mentors, and two-person exhibition. It is a pleasure environment for Michigan residents extraordinary talents. as contributors to the Detroit art scene to bring together a body of work by and visitors to our state. for over six decades.” Skip Davis two renowned sculptors in a Museum The work in this exhibition was loaned Sergio De Giusti and Jay Holland where the works of a great American by the artists and private collectors. met in 1960 when Sergio was a high master, Marshall Fredericks, reside. We are grateful to all of them. school student and Jay was teaching sculpture classes at the Detroit Special thanks goes to Skip Davis 2 3 Institute of Arts (DIA). Jay was initially for his commitment to bringing attracted to Sergio’s Italian accent FRAGMENTA to the Museum, Pat (Sergio came to Detroit from Italy in Ferrill for designing the catalog, and 1954), and later the older artist could the entire museum staff for assisting see a special talent in his nineteen- with the installation of the exhibition. year-old student. That sculpture class with Jay helped prepare Sergio for his Marilyn L. Wheaton admission to Wayne State University Museum Director in 1961 to study sculpture. Jay and Sergio saw each other Jay Holland (left) and Sergio De Giusti, 1982 regularly for many years. Sergio often visited Jay and his wife at their home in Birmingham, where there was always music and serious discourse about art and sculpture. When Jay took a year-long sabbatical from the College for Creative Studies, Sergio took over teaching his classes. Fragments from a Fraught World

Seldom does either Jay Holland or bodies,” that simultaneously evoked De Giusti, born in 1941, immigrated Although all of De Giusti’s figurative Sergio De Giusti represent an damaged antique statuary, which is to Detroit from Italy with his family reliefs involve mash-ups of classical anatomically seamless figure — as in minus the limbs, heads, noses, in 1954. While in high school, he art practice and his modernist themes the Graeco-Roman ideal — proffering penises/genitals lost over time. met and studied briefly with Holland of turmoil and turbulence, his Homage instead a fractured, embattled vision Artistically, single severed limbs and subsequently at Wayne State to Bernini (2007) is perhaps the of humankind. Attuned to the provoke interest and curiosity, as in University, where afterward he most dramatically baroque of all. cathartic turmoil of the post-WW II era downtown Detroit’s own “Fist,” the taught for a number of years. Within a long, narrow friezelike in which they matured, each forged nickname for the suspended arm and Grappling with his own vision of format, stretching almost ten feet in a distinctive sensibility that allowed fist of Robert Graham’s Memorial human existence in a distressed, width, the form of the famous them to express their responses to the to Joe Louis. Would the Venus de Milo fractured society, De Giusti employs sculptor gradually emerges — his face antihumanistic ethos they witnessed be as singular with arms attached? the wall-mounted bas-relief as his and hand becoming visible — only to around them. Nor did they toil alone primary idiom. In contrast to Holland’s disappear from sight in the last panel, Holland, a Detroit native born in in their efforts to confront a world they blunt, confrontational effigies, De a sobering reminder of the demise of 1928, studied at the College for saw as out of joint. Their sculptural Giusti’s multifigural reliefs sweep in art, humanity, and its vaunted ideals. Creative Studies (where he later taught compatriots, who likewise shared their fluent arabesques across wide (up to A clutch of shrouded, partial figures for many years) and the Cranbrook dark, worrying view as they probed sixteen ft.), multipanel compositions. from 1999 — Effigy, Wrapped Figure, Academy of Art. His life-size the human condition, are legion: Within the restless, flowing milieu and Ethnographic Head — further Manapart (1997) stands as a prime Kenneth Armitage, Reg Butler, Cosmo of heads, body parts, partial figures, reflect the artist’s emphasis on “anxiety example of “damaged man” in Campoli, Lynn Chadwick, Herbert lengths of drapery, and miscellaneous and turmoil.” distress. The lumpy, partially visible Ferber, Elizabeth Frink, Alberto detail, scenes drawn from history, figure, poised in a classic contrapposto Notably, Holland and De Giusti have Giacometti, Jacques Lipchitz, Seymour opera, the bible, and various classical stance, is encased in shattered armor. occasionally essayed related subjects, Lipton, Giacomo Manzu, Marino sources can be discerned. In Genesis He does indeed stand apart, but he significantly “helmets.” This protective Marini, Eduardo Paolozzi, John Nick (1992) randomly deployed bodies is also coming apart at the seams. headgear is replete with references, Pappas, Germaine Richier, and and body parts emerge from a ground Vulnerable, “wounded and lacerated” destructive and constructive, to Theodore Roszak, among others. littered with ragged, twisted lengths of 4 (according to the sculptor), his steel armed conflict, ferocity, gladiators, 5 fabric and strips of bandaging. In the The shattered psyches of the second carapace no longer protects him from medieval jousts, alpha land, struggle to free themselves from these half of the twentieth century were the slings and arrows hurled his way. militarism, knights, round tables, restrictive coverings — shrouds? due in no small part to the serial One horn has already been shorn from and romance, all bundled in a single cocoons? — De Giusti’s figures destructiveness of WW II, the his helmet. The remains of a shield artifact. Holland’s Helmet (c. 1975) is animate the fraught eclosion from Holocaust, Hiroshima and the atomic attached to his left “arm” (there is in sleek, shiny, snouted, and marginally nonexistence to febrile life. Projecting bomb, the Korean War (in which fact no arm behind it) is paper thin — functional; De Giusti’s Benin Helmet lengths of undulating fabric link the Holland served), the Cold War, the and useless. Circumnavigating (1999) is bandaged, shrouded, and separate panels into a whole, and Vietnam War, and the Gulf War. Manapart reveals that his armor is useless, its life force seemingly snuffed the figures — prone, partly hidden, Artistic discourse buzzed with terms jaggedly split, neck to waist, down the out. These sculptures, representative upside down or right side up — thrust and phrases that encapsulated the length of his back. Patinaed in a dusty of the artists’ caustic oeuvres, forth from the elegantly modeled fraught state of the period: “the age brown, this “existential man” is indeed disruptive voices, and dissatisfaction primal soup. of anxiety,” “geometry of fear,” bereft, isolated on a base that, given with the world, offer, nonetheless, “damaged man,” “fragmented,” its irregular shape, might be described Similarly, in The Arts (2005), a quartet a bracing dose of what Marlene “shrouded,” “disfigured,” “the human as akin to an ice floe. of relief panels provide fragmentary Dumas has described as “art without condition,” “the loss of humanistic references to the literary arts (a book), a face lift.” A related figure, Decision Pending ideals,” “new images of man,” performing arts (theatrical mask), (1983) is, as its title implies, beset Dennis Alan Nawrocki “existential man.” visual arts (palette), musical arts with indecision, while other works, (bearded divo, violin, hand, and Moreover, the heretofore with more explicit titles — A Knight baton), their forms emerging conventional portrait head, bust, or Assembled (1998), Ozymandias from restless eddies of wind, water, half figure took on new, dark (“a remnant of past glory and power,” and drapery. Here too several roiling identities, via such descriptive per the artist), and Bound Figure forms project beyond the edges of the terminology as “partial figures,” (both 1978) — summarize Holland’s cast hydrostone to engage viscerally “disembodied forms,” “dismembered leitmotif of the shattered ideals at the with viewers. core of “the human condition” — as well as his practice. Jay Holland Jay Holland Manapart, 1997 Forged and welded steel and Lumnite cement 6’6” x 39” x 32”

6 7 Jay Holland Jay Holland Jay Holland Mask of Agamemnon, 1997 A Way Out, 1974 A Leg to Stand On, 1984 Forged and welded steel Bonded bronze Cast Lumnite cement 24-½“ x 17” x 15” 28-½“ x 18” x 10’ 35-½“ x 16” x 9”

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Jay Holland Jay Holland Balance, 1986 Twisting Man, 1985 Cast bronze Cast bronze 20” x 10” x 7” 22” x 8-¾“ x 6” Jay Holland Jay Holland Jay Holland Far Summit, 1980 Ancient Symbol, 1961 Decision Pending, 1983 Forged and welded bronze Forged and welded steel Cast Lumnite cement 6’10-½” x 15” x 15” 41” x 19” x 31” 69” x 38” x 30”

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Jay Holland Disjecta Membra, 1985 Forged and welded steel 18” x 22” x 35” Jay Holland Jay Holland Invaders’ Helm, 1975 Arboreal Form, 1960 Forged and welded bronze Forged and welded steel 37” x 12” x 14” 24“ x 25” x 11-½”

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Jay Holland Jay Holland Jacketed by Doubt, 1978 Montebank, 1981 Cast bronze Cast bronze 24” x 11” x 6” 21” x 9” x 7” Jay Holland Sergio De Giusti Separated Man (detail), 1982 Images from Ur (detail), 1992 Cast Hydrostone Cast Hydrostone, bas-relief triptych 23” x 9” x 6” 25” x 67”

14 15 Sergio De Giusti Images from Ur, 1992 Cast Hydrostone, bas-relief triptych 25” x 67”

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Sergio De Giusti Genesis, 1992 Cast Hydrostone, bas-relief 30” x 17’ (six panels) Sergio De Giusti Sergio De Giusti Sergio De Giusti Effigy, 1999 Ethnographic Head, 1999 Canopic Jar, 2011 Cast Hydrocal Cast bronze Cast bronze 24” x 12” x 9” 10” x 5” x 7” 14” x 9” x 6”

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Sergio De Giusti Sergio De Giusti Effigy II, 2007 Benin Helmet, 1999 Cast bronze Cast bronze 15” x 12” x 8” 14” x 7” x 6” Sergio De Giusti Sergio De Giusti Wagner’s Opera – The Flying Dutchman, 1993 A Faust Symphony (detail), 2010–15 Cast Hydrocal Charcoal and pastel 22” x 27” x 10” 60” x 40”

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Sergio De Giusti Wagner’s Opera — Ring of the Nibelungen (Das Rheingold — Götterdämmerung, and Siegfried), 1988 Cast Hydrostone, bas-relief triptych 31” x 7’ Sergio De Giusti Sculptors David Barr and Sergio Sergio De Giusti Labor Legacy Landmark: De Giusti were selected from a Transcending, 2003 national search to create a “Labor Cast bronze and marble Legacy Landmark.” David created 63” x 45” the design and the arc; and Sergio created the 17 bronze reliefs that (bottom, left to right): comprise Transcending, now The Birth of Industrial Unionism installed at Hart Plaza in Detroit. The Roots of Our Movement The Future Belongs to the Young

22 23 Jay Holland

Born: Decision Pending; City of “During the 70’s, Holland did a Brighton; Brighton, Michigan 1983 compelling series of welded steel Detroit, Michigan; armor parts, underscoring the Decorative piece for Nedra November 16, 1928 symbolic qualities of such beautiful Kapetonsky; Lathrup, Michigan 1980 Education: forms. During the 80’s, he introduced Calligraphic Spirit; Dow Chemical classical figures with fragmented Cass Technical High School Corporation; Midland, Michigan 1969 body parts, representing the deep Detroit, Michigan 1944–1947 psychological and spiritual damage Tobacco Relief; DWG Cigar suffered by modern man.” Society of Arts and Crafts; Company; Lima, Ohio 1966 (awarded Detroit Board of Education Joy Hakanson Colby scholarship); Detroit, Michigan Tree of Life; Ira Kaufman Chapel; 1948–1953 Southfield, Michigan 1961 “Jay Holland is considered by many Cranbrook Academy of Art; Floral Concept; Bell Florists; Artist Statement to be the father of Detroit sculpture; Bloomfield Hills, Michigan Birmingham, Michigan 1959 he taught the craft at CCS from 1964 1954–1957 Selected Awards: The first sculpture from my studio in to 1998.” Birmingham included pieces based Selected Exhibitions: State of Michigan Fine Arts Grant on herbal and arboreal forms. The Detroit Metro Times Birmingham/Bloomfield Art Center; 1983 spirit of these works owed much to the exquisite design and sensitivity Birmingham, Michigan 2006 Gold Medal Award for Sculpture; “Studying with Jay, I quickly realized expressed in classic Japanese Kayrod Gallery; Detroit, Michigan Scarab Club; Detroit, Michigan 1982 that I was in the presence of a master. gardens, wood block prints and Jay Holland is in a class by himself.” 1998 Purchase Award — Small Sculpture Japanese calligraphy. and Drawing Exhibition; Ball State James Bouchey Detroit Artists Market (with Richard Working directly with metal, though Jerzy); Detroit, Michigan 1998 University; Muncie, Indiana 1981 24 time-consuming, reduces the process 25 Michigan Gallery (with Sergio De Purchase Award — Small Sculpture of making sculpture to literally a one- “Young artists shouldn’t miss the Giusti); Detroit, Michigan 1989 and Drawing Exhibition; Ball State step operation eliminating the need for chance to study with Jay Holland. University; Muncie, Indiana 1977 mold making and casting. Familiarity Every sculptor worth his salt has to Delta College; Saginaw, Michigan with direct metal techniques made master the human figure.” 1985 Teaching History: the method a natural choice for Hugh Timlin Michigan State University; Society of Arts and Crafts / Center developing sculptural ideas derived Lansing, Michigan 1985 for Creative Studies / College for from medieval arms and weaponry. Creative Studies; Detroit, Michigan “I found a mentor and exceptionally My figurative works were dominated Michigan Gallery (with Tony 1964–1998 skilled sculptor in Jay Holland at the Williams); Detroit, Michigan 1982 by the desire to demonstrate Center for Creative Studies in Detroit.” Jay’s teaching responsibilities in emotional distress by displacing Hanemura Gallery; Detroit, Michigan the sculpture program at Society of normal anatomical associations, Suzanne Martin 1961 employing damaged anatomical parts, Arts and Crafts were founded on a displayed in an imperfect alignment, Flint Institute of Art; Flint, Michigan classical figurative tradition, “Jay is a maestro. To him, being an shrouding portions of the figure 1960 enlivened by contemporary attitudes artist is about a lifestyle.” and a consuming interest in and deleting certain anatomical Selected Commissions/Collections: experimentation and inquiry. These parts. The result is forceful images Ray Katz Manapart; Center for Creative Studies; adventures in sculpture were attempting to interpret life’s passing Detroit, Michigan 1995 supported by a very active bronze experience, more effectively, perhaps foundry which sometimes doubled for this sculptural discipline. In Praise of a Young Girl; as an iron foundry. Considerable Hoagland Family Memorial; work in direct metal also prevailed at Birmingham, Michigan 1989 this time. Jay served approximately two years as Fine Arts Chairman and retired in 1998 after 34 years with the rank of Professor. Sergio De Giusti

Born: Selected Commissions/Collections: “The shrouds are bandages concealing loss of meaning, of faith, of memory, Maniago (Friuli), Italy; William Davidson Memorial; and maybe the loss of the ability September 25, 1941 Guardian Industries Memorial Garden; to adequately represent the inner life.” Auburn Hills, Michigan 2012 Education: Glenn Mannisto Transcending; The Michigan Labor Wayne State University; Legacy Project, Hart Plaza; Detroit, B.F.A. (1966) and M.F.A. (1968) Michigan 2002–2005 “These works, mysterious and Selected Exhibitions: compelling, demonstrate the artist’s Pesce Memorial; San Donato Val Di fascination for an art form that has Tenebroso; Detroit Artists Market; Comino Cemetery; Lazio, Italy 2003 its roots in his country of origin. They Detroit, Michigan 2010 Reaching Out; Michigan Legacy Art also reaffirm the eclectic nature of Wrapped Fragments; Kayrod Gallery; Park; Thompsonville, Michigan 2002 Mr. De Giusti’s art whereby he is free Detroit, Michigan 2008 Artist Statement to pick and choose from the ideas Humanistic Stele; Blue Cross Blue and visual images of a wide variety District Arts Gallery; Birmingham, Shield of Michigan; Detroit, Michigan As artists we are products of our of cultures. This characteristic thus Michigan 2005 1998 time and the people that appear at serves to anchor him firmly within just the right time, who stimulate our St. Vincent De Paul; Library, De Paul the dominant perspective of much Figurative Reliefs; Krasl Art Center; senses and help guide us to make University; Chicago, Illinois 1997 contemporary art.” St. Joseph, Michigan 2001 the right choices. Bernini Triptych; General Lectures Irving Gumb Park Gallery; Kalamazoo, Michigan My vision as an artist has been Building, Wayne State University; 2000 very consistent throughout the years. Detroit, Michigan 1996 Images of Ur: A Retrospective; Working in relief sculpture and “Sergio is a major name in sculpture. The Studio Gallery; Alexandria, Civil Rights Memorial; M.L.K. Plaza, focusing on the human figure; He’s one of the few doing the bas relief that has recognizable theme to 26 Virginia 1999 Eastern Michigan University; Ypsilanti, perhaps more so on the human 27 Michigan 1991 condition. As an Italian born artist, it, and very Italian.” Sergio De Giusti: A Retrospective; I have been very strongly influenced Jack Olds Madonna University; Livonia, Michigan Landscapes; Library of by the tradition of modern Italian Michigan 1998 Michigan; Lansing, Michigan 1988 relief sculpture by artists Giacomo Sergio DeGiusti 1967–1997: Thirty Chiesa Parrochiale; Church of San Manzú and Emilio Greco. I continue “De Giusti is a master of relief, Year Retrospective; Berkowitz Gallery, Vito Centennial; Maniago, Italy 1988 that tradition in my art work. My creating a pageant of figures in University of Michigan; Dearborn, classically expressionistic images constant motion. The artist ranges from Cross for Pope John Paul; Archdiocese Michigan 1996 are inspired by the passion and the opera’s of Richard Wagner to life of Detroit; Detroit, Michigan 1987 emotions of the Baroque and in modern Michigan. He works with Sergio De Giusti: Rilievi In Bronzo Arturo Toscanini; Waupun Public Hellenistic periods. passionate energy that infuses his Mostra Personale; Galleria D’arte Library; Waupun, Wisconsin 1969 work with poetry. De Giusti Grogoletti; Pordenone, Italy 1983 builds sculpture environments Gen. Anthony Wayne; Centennial “By paying attention to the classical to clothe modern allegories of love Michigan Gallery; Detroit, Michigan Courtyard, Wayne State University; forms, De Giusti speaks of our future, and death in forms rooted in the 1981 Detroit, Michigan 1968 the importance of culture and what Renaissance. His theme: The Sergio De Giusti Personale; Galleria we are in the process of losing through alienation of modern man, viewed Selected Awards: D’Arte Rubens; Gradisca D’Isonzo our actions.” from an historical perspective.” (Friuli), Italy 1980 Michigan Council for the Arts Nick Sousanis Joy Hakanson Colby Creative Artist Grant Sheldon Ross Gallery; Birmingham,

Michigan 1978 Wayne State University Arts “One of the few traditional Achievement Award Detroit Artists Market; Detroit, figurative sculptors who updates Michigan 1976 Wayne County International mythical and operatic themes Artist Award with values from feminism, psychoanalysis and current events.” Cavaliere della Repubblica; Government of Italy Marsha Miro Additional Works

Additional works by Jay Holland Additional works by Sergio De Giusti in the exhibition not illustrated in in the exhibition not in illustrated in this catalog: this catalog: Guitar Player, 1969 Urban Stele, 1998 Cast bronze Wax model for bronze 13” x 11” x 8-½” 7’ x 56” Mandrill Helm, 1973 Wrapped Figure, 1999 Forged and welded steel Cast Hydrocal 12” x 8” x 15” 22” x 17” x 8” Medieval Helm, 1974 Labor Legacy Landmark: Forged and welded steel The Roots of Our Movement, 2003 32-½“ x 9” x 14” Cast Hydrostone model 63” x 45” Fats, 1976 Terra cotta The Arts, 2005 24” x 7” x 6” Cast Hydrostone, bas-relief 40” x 7’ (four panels) Long Movement, 1979 Forged and welded steel Homage to Bernini, 2007 62” x 25” x 16” Cast Hydrostone, bas-relief triptych 36” x 9’8” Ukase, 1981 Forged and welded bronze Pediment Fragment I, 2007 20” x 27” x 9” Cast Hydrostone, bas-relief 16” x 20” 28 Un Giorno di Regno, 1986 Terra cotta Pediment Fragment II, 2007 24” x 19” x 16” Cast Hydrostone, bas-relief 16” x 20” Continents, 1988 Plaster Martirio, 2010 65” x 28” x 31” Charcoal 41” x 26” Mannequin, 1997 Hydrostone, wood, and bronze wire Canopic Jar, 2011 31” x 18” x 21-½” Wax 17” x 10” x 7” A Knight Assembled, 1998 Cast bronze Canopic Jar, 2011 18” x 14” x 11” Plaster 16” x 7” x 7” Menace, 2001 Forged and welded steel War Monument, 2012 24” x 15” x 23” Bronze and steel 15” x 23” x 7” Borealis, 2013 Charcoal and pastel 41” x 29”

Credits n Art direction and design: Skip Davis n Design and production: Pat Ferrill n Production: Kazuko Sacks n Photography: Brian Callahan, Jeff Cancelosi, Lori De Giusti, Roxanne Lambie, Glenn Schoenbach, Mark Yasenchak n Photo retouching: Tracey Bouchey n Editing: Cynthia Edwards n Proofreading: Andrea Ondish n Personal assistant to Jay Holland: James Bouchey Supported by the Dow Chemical Company

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