Abstract Reality ART HIST RY KIDS

Total Page:16

File Type:pdf, Size:1020Kb

Abstract Reality ART HIST RY KIDS The Mark Rothko’s Studiowith Abstract Reality ART HIST RY KIDS MARK ROTHKO: ART TEACHER A creativity-focused teaching style Mark Rothko appreciated the way children make art. He taught art to children (ages 5-13) for over 20 years! As he taught, he did everything he could to ensure that kids would have an opportunity to express their own individual creativity and he encouraged open-ended art. (This is the exact philosophy we embrace at Art History Kids!) Here are the key idea that made up Rothko’s teaching style... Idea #1: Share with your students that art is a universal language and a core means of expression– much like speaking or singing. Art is for everyone, and we are all artists! Rothko wrote: “These children have ideas, often fine ones, and Click they express them vividly and beautifully, so that they make us feel what they feel, hence their efforts are intrinsically works of art.” to read Idea #2: Formal art lessons may hinder the child’s creativity. Invite kids to create open-ended art, and make a variety of art supplies accessible to kids. a full Idea #3: Showing kids work in an art show promotes self-confidence. Kids can article learn a lot from presenting their work and considering the work of their peers! about Idea #4: Begin your art history explorations with modern art (rather than the Old Masters). Modern art – like Picasso, Matisse, (and even Rothko’s), is a better place to start with art education because it’s more approachable for kids com- Rothko’s pared with refined Renaissance masterpieces. teaching Idea #5: Encourage creative thinking over proficient technique. Most kids won’t end up with jobs in the arts, but that doesn’t mean the art education wasn’t style. extremely valuable. The things kids learn in art class will help them in the future – whatever their chosen profession may be! The world needs innovative problem solvers, and kids develop this skill by looking at and making art regularly. May 2020 26 The Mark Rothko’s Studiowith Abstract Reality ART HIST RY KIDS TEST YOUR MEMORY Let’s Play! Print this page out twice and cut out each of the squares. Place them upside down and have fun playing Mark Rothko memory! May 2020 27 The Mark Rothko’s Studiowith Abstract Reality ART HIST RY KIDS THE ROTHKO CHAPEL A special place in Houston, Texas Many of the artists we’ve studied in The Studio – including Henri Matisse and Marc Chagall – have designed spectacular churches. Rothko also created paintings for a very unique place of worship! Take a look at the Rothko Chapel in Houston Texas. Click the image to see a video tour hosted by Mark Rothko’s son. Text taken directly from The Rothko Chapel’s website: “The Rothko Chapel is a spiritual space, a forum for world leaders, a place for solitude and gathering. It’s an epicenter for civil rights activists, a quiet disruption, a stillness that moves. It’s a destination for the 100,000 people of all faiths who visit each year from all parts of the world. It is the home of the Óscar Romero Award. The space contains 14 murals created by American artist Mark Rothko. Philip Johnson, Howard Barnstone, and Eugene Aubry were the architects. Outside, Barnett Newman’s Broken Obelisk rises above the reflecting pool on the Plaza. The sculpture is dedicated to The Reverend Dr. Martin Luther King, Jr., whose active outer life in service of social justice, informed by a deeply Click spiritual interior life, resonated with founders John and Dominique de Menil. The couple also to see the founded the nearby Menil Collection, which video offers a different sort of unique experience.” May 2020 28 The Mark Rothko’s Studiowith Abstract Reality ART HIST RY KIDS REVIEW This month, we’ve learned that the most simple art can have a powerful and complex meaning. Let’s review what we know about Mark Rothko and his color field paintings. Mark Rothko (originally Markus Yakovlev- ich Rothkowitz) was born on September 25, 1903 and he died on February 25, 1970. His family moved from Russia to the United States when he was young. He was friends with a group of influential artists in New York – the Abstract Expressionists. Although his early paintings were represen- tational, he found his signature style in abstract art, first multiforms, and then later color field paintings. His vast large-scale canvases were meant to be seen up close – Rothko recom- mended viewing them from a distance of 18 inches so that the edges of the canvas would be seen in the peripheral view and the viewer would feel engulfed by the art. Mark Rothko explained that his art was a representation of the human experience. He Click here to see if a said, “I'm interested only in express- ing basic human emotions: tragedy, museum near you has ecstasy, doom, and so on.” Rothko’s art on display! May 2020 29 The Mark Rothko’s Studiowith Abstract Reality ART HIST RY KIDS NOW IT’S YOUR TURN... Now that you’ve seen The Rothko Chapel and learned how Mark Rothko thought so intentionally about his Consider this: art and how it would be seen in a space, Something to consider as you make your art... you might enjoy applying this knowledge as you create your own art. You could This is an excellent week to consider how the relation- approach this a couple of different ways: ships between things can change the way their 1. Create a set of paintings (a series) impact. You can think about the relationship of colors next that are designed to go together. to each other, or you could think about the power of scale, and how a room full of large paintings feels different 2. Sketch a place where your art from a room full of smaller works of art. would be shown in groupings. 1. Chose your concept Will you create a set of paintings? Design a space that would be dedicated to your abstract art? Or maybe you have another idea? 2. Choose your materials If you’ll be painting, think about how your art will look when it is hung together as a set. If you are designing a space, will you sketch it or build a simple scale model? 3. Create your art or design Make your paintings or design your space! 4. Share your masterpieces Post a photo in our facebook group or send them in to [email protected] so we can celebrate your creativity. May 2020 30 The Mark Rothko’s Studiowith Abstract Reality ART HIST RY KIDS THE ONE THING THEORY We’re going to practice doing something fun each time we finish a project. It’s called “The One Thing Theory.” It’s a good way to finish a project, because we get to think about the amazing things we learned during our activities, and choose the ONE THING that we thought was the most interesting. What one thing did you think was the most interesting this month? You can use this space to write about it... May 2020 31 The Mark Rothko’s Studiowith Abstract Reality ART HIST RY KIDS ARTIST QUOTE PRINT At the end of each month you’ll receive a printable quote. Print it, trim it out, and tape it up on the fridge, hang it on the wall in your creative space, or you could even frame it, and start a collection! There is no such thing as a good painting about nothing. MARK ROTHKO May 2020 32 The Mark Rothko’s Studiowith Abstract Reality ART HIST RY KIDS REFLECT AND PLAN Congratulations! Let’s celebrate all you’ve explored and discovered this month. This topic may be coming to a close, but you can re-visit and review it any time. Use this page to make a few notes for yourself about things that went well, insights your kids had, fun things they said, and other highlights of the month. Remind yourself of the things you’d like to circle back to sometime in the future. May 2020 33.
Recommended publications
  • Ely Washington 0250O 19621.Pdf (9.561Mb)
    Internalizing the Sun An Exploration in Light-Driven Architecture Sri Gaura Ely A thesis submitted in partial fulfillment of the requirements for the degree of Master of Architecture University of Washington 2019 Committee: Christopher Meek Ann Marie Borys Program Authorized to Offer Degree: Architecture © Copyright 2019 Sri Gaura Ely University of Washington Abstract Internalizing the Sun An Exploration in Light-Driven Architecture Sri Gaura Ely Chairs of the Supervisory Committee: Christopher Meek Ann Marie Borys Can architecture utilize light to evoke a feeling of the sublime? This thesis is an exploration of daylight- driven architecture, architecture that is designed to utilize direct sunlight and ambient skylight for specifically prescribed effects. The foundation of this project draws on the thinking of architectural masters, the perspective of lighting experts, and the lessons of precedent studies to direct a process of designing architecture that allows occupants to approach a sense of divinity. I believe that architecture is at its best when shelter, space, symbolism, and function are balanced with a desire to delight. Architecture’s ability to elicit emotion from individuals, to incite wonder and awe, largely through occupation, is special. In order to exceed programmatic requirements and provoke an emotional response, the endeavor is to create architecture that is akin to art. The proposal explored is an architecture which utilizes natural light to evoke the sublime through its cosmic connection with the sun, sky, and horizon. Internalizing the Sun An Exploration in Light-Driven Architecture Sri Gaura Ely Committee: Christopher Meek Ann Marie Borys Dedication This thesis is dedicated to my parents, Kosarupa and Bada Haridas, to my brother Charles, to my dearest friends, you know who you are, and to my community of well-wishers.
    [Show full text]
  • The Rothko Chapel Rita Reis Colaço Artwork and Space
    THE ROTHKO CHAPEL RITA COLAÇO REIS RITA ARTWORK AND SPACE AND ARTWORK / 2017 / the rothko chapel ARTWORK AND SPACE by Rita Reis Colaço Research followed by Sébastien Quequet in order to obtain the diplome in Master in Space & Communication at Haute École d’Art et de Design de Genève First of all, I would like to thank Sébastien Quequet for all knowledge and help he shared with me during the last months. I would also like to thank Alexandra Midal and Vivien Philizot, as well as Helena, Lisa, Maria, Lourenço and Vasco for all the support. I. Introduction | 13 II. The Chapel Commission The Chapel of all tensions | 21 To build or not to build? | 23 Tension, changes and relations generated by the commission through the project | 24 III. Artwork and Space 1. Mark Rothko and the Abstract Expressionism | 41 2. Anatomy of the interaction between the space and the artwork | 45 3. Narration | 101 4. Religion | 109 IV. Conclusion | 119 Endnotes Annexes Bibliography I. Introduction When I concluded my studies on Product Design, I realized that I was much more aware of the space and the environment created through the relation of elements present than just the objects themselves. This interest led me to become very attentive to museum spaces, more specifically to the relation between the space and the artwork and how the space around an artwork influences its observation. I have come to realize that an artwork doesn’t exist without a space around it; an artwork needs a space to live on and to be observed on.
    [Show full text]
  • IE Ye ELAND • > W | I • HOUSTON !•'
    10 Cite Fall 1984 ike cdif tkai Le4, bejj&ie u, &i j&Ue, v^gzs*- ewe cty ike p44A£4 t ezampled we kaue a a H H"A :-OK city. , ; -•- ^'. Houston's lack o) C: Hou7(ini|caV^uwfli)«iio(iPii(fiotW? 1*1 ' I rlirrl • 'mumttA IM>HH» WI#J •i-inir ' f'l'iin « «r* Umm . * 4 d < • • „ . f . 1 I . P l i t . h - " ' - in-vikiml In *lHf« n i i ' t ><i II.• (minli . umlnrti II x u i kdtn i* t-i Ln | •tot i a J w M l < i < i | i > T T J I * | M i -, •• , .t . I IE yE ELAND • > W | i • HOUSTON !•' N T C t \:,. Clockwise from upper left corner: Ford and Colley and Tamminaga, architects, Dominique de Menil and Philip JoblUOH, 1 949 altered; a modern office and industrial building (Houston Postal. Atrial view oj Gulf Freeway built in the Buffalo Speedway corridor (Houston looking tint from St. Emanuel Street, 1950 Metropolitan Refearch Center, Houston Public (Houston CAamberofCommerce). Welder Hall, Library). Houston grandes dames gathered University of St. Thomas, 19">l), Philip Johnson in a modern living room in the Pine Hill section Associates, architects, Bolton and Rarnstone, of River Oaks. Wilion, Morris, Crain and Mi wt iate architects. View of Commons, altered Anderson, architects (Photo by Beadle, courtesy (PbotO by Alexandre Georges). Meyerland House and GardenJ. The Museum o) Modern Company advertisement, 1958 (Houston Art's "Painting Toward Architecture" exhibi- Chamber of Commerce). Project: Montclair tion on display at the Contemporary A rt<A SJOt lo- Shopping Center, I950.
    [Show full text]
  • A Clapboard Treasure House: Piano's New Museum for the Menil Collection
    Cite August 1982 5 Piano's New Museum For The Menil A Clapboard Collection Treasure House Stephen Fox like the tension between business and art, has been a concern in architecture for a long lime. Some of the explosive ethics debates of the 1970s and the emerging On 2 December 1981 at a public presen- business-oriented firms appear clearly foreshadowed in Frank Lloyd Wright's comments published in American Architect in 1930: tation held at Hamman Hall on the Rice ' 'We know who runs the business but, unless unpopulariy curious, we no longer know who makes the designs... University campus, Mrs. John de Menil "Promotion, Financing, Operating, Building here are four departments of modern architectural practice unknown to yesterday's architect, who devoted his mind announced the planned construction of and extended his powers in the direction of making plans and writing specifications for a real building that he himself expected faithfully to superintend." a seventy-thousand-square-foot museum The tension between business and profession cannot be erased. It has been part of the practice of all professions and art storage building to contain the since the rise of industrial capitalism. Even Roscoe Pound's famous definition of what makes a professional indicates this: Menil Foundations extensive collection ' 'The term (professional) refers to a group of men (and women) pursuing a learned art as a common calling in a of art and anthropological artifacts. The spirit of public service—no less a public service because it is incidentally a means of livelihood.'' museum, to be known as The Menil Service and livelihood—profession and business—it is the balance between these two which led to the con- sumer challenges and the court cases in the 1970s.
    [Show full text]
  • Houston Houston, Texas
    What’s Out There® Houston Houston, Texas Welcome to What’s Out There® Houston, organized ranged from Picturesque and Beaux-Arts styles to Modernist by The Cultural Landscape Foundation (TCLF) and Postmodernist. The Houston Transformation conference with support from national and local partners. and What’s Out There Weekend tours correspond with the th This guidebook provides details about more than 100 anniversary of the founding of the Houston Parks and Recreation Department, which today manages parks and 30 examples of Houston’s incredible legacy of open spaces comprising more than 37,800 acres. parks and public open spaces—sites featured in free, expert-led tours that complemented Leading This guidebook is a complement to TCLF’s much more with Landscape II: The Houston Transformation comprehensive What’s Out There Houston Guide, an conference, also organized by TCLF. interactive online platform that includes all of the enclosed essays plus many others, as well as overarching narratives, The story of zoning and planning in Houston is a fascinating maps, historic photographs, and biographical profiles. That Photo by Natalie Keeton, courtesy Lauren Griffith study, one that lies at the very center of the conference Guide, viewable at tclf.org/houstonguide, is one of a number and tours. It is a story characterized by political wrangling, of online compendia of urban landscapes, dovetailing with economic boom and bust cycles, hurricanes and flooding, TCLF’s Web-based What’s Out There, the nation’s most the influence of the automobile in infrastructure and housing comprehensive searchable database of historic designed development, public-private partnerships, and the presence landscapes.
    [Show full text]
  • The Twombly Gallery
    16 i t e S p r i n g 1 9 3 6 C i l e 3 4 S p r i n g 1 9 9 6 • t|U u Twombly Gallery, Renio Piano Building Workshop, architect, wilh Richord Filzgeiald & Partners, associate architect, I f f 5 . U I i ! The T w o m b l y G a l l e r y a n d William F. Stern he 1995 completion of the Twombly Foundation, founded by Dominique de sculpture drawn from the Menil and Dia the Order of St. Basil. The de Menils" TGallery in an early-20th-eentury Menil\ daughter Farina (Philippa) and collections, along with more than 33 architectural influence would first be Montrose neighborhood continues a con- her husband, Hciner Friedrich, owned works donated by the artist himself. The felt when they were asked by the univer- temporary pattern of building that was Twombly paintings and drawings collect- Menil took title of six paintings from Dia sity to assist in the selection of an archi- established with the Rothko Chapel in ed in the 1970s and additional pieces and in so doing helped the foundation ro tect for new buildings. Among those 1971. Like the Rothko and the nearby purchased for Dia in 1980. At the time purchase a building on West 22nd Street recommended, Philip Johnson, who had Menil Collection, the Twombly Gallery nl ilu I womhb exhtbitic i i louston, in New York, across the street from the designed the de Menil house ill River is the result of an unusual three-way discussion began about a collaboration foundation's existing four-story loft Oaks in 1950, received the commission collaboration between artist, architect, between Dia and the Menil for a perma- building.
    [Show full text]
  • Heat and Light Thematised in the Modern Architecture of Houston
    703 The Journal of Architecture Volume 16 Number 5 Heat and light thematised in the modern architecture of Houston Michelangelo Sabatino Gerald D. Hines College of Architecture, University of Houston, 122 College of Architecture Bldg, Houston, Texas, TX 77204-4000, USA Mid-twentieth-century modern architecture in Houston thematised responsiveness to the natural phenomena of heat and light despite the fact that Houston’s most celebrated modern buildings were designed to be completely reliant on central air-conditioning. An examination of Houston buildings constructed from the late 1940s through the 1960s demonstrates the ways in which modern architects sought to privilege the architectural rec- ognition of regional climatic difference while also employing modern technology to allevi- ate local climatic extremes of heat and humidity. The spectacular modern buildings that represent this era in Houston raise crucial questions: How did architects reconcile the doc- trine of climatic responsiveness to the equally modern desire for maximum transparency? What proved more compelling: responsiveness to local circumstance or the imperatives of modern structural and mechanical engineering? Did modern architects perceive that there might be contradictions between responsiveness to climate and other aspects of modern architectural identity, such as transparency? Because concern about the roles of building design and construction in the responsible use of natural resources is current at the turn of the twenty-first century, it is pertinent to examine the ways modern architects in a particular climatic setting negotiated the issue of climatic responsiveness as modern architecture became the dominant practice. Introduction States during the post-war period strenuously ques- Twentieth-century modern architecture was ident- tioned the universalising claims of the modern ified with an exploration of innovative building movement by investigating regional building prac- materials and rationalised planning and construc- tices that registered material and climatic differ- tion practices.
    [Show full text]
  • Breaking the Box: the Alternative, Libertarian Exhibition Spaces Created by Rothko & Judd
    Breaking the Box: The Alternative, Libertarian Exhibition Spaces Created by Rothko & Judd by Stephanie Anne Webb B.F.A., B.A. University of Victoria, 2001 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the Department of History in Art © Stephanie Anne Webb, 2008 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part by photocopy or other means, without the permission of the author. ii SUPERVISORY COMMITTEE Breaking the Box: The Alternative, Libertarian Exhibition Spaces Created by Rothko & Judd by Stephanie Anne Webb B.F.A., B.A. University of Victoria, 2001 Supervisory Committee: Dr. Allan Antliff, (Department of History in Art) Supervisor Dr. Christopher Thomas, (Department of History in Art) Departmental Member Dr. Astri Wright, (Department of History in Art) Departmental Member Dr. Dániel Biró, (Department of Music) External Examiner iii Dr. Allan Antliff, Supervisor (Department of History in Art) Dr. Christopher Thomas, Departmental Member (Department of History in Art) Dr. Astri Wright, Departmental Member (Department of History in Art) Dr. Dániel Biró, External Examiner (Department of Music) ABSTRACT An exhibition space is neither neutral nor universal and meaning is continually constructed within these mediated spaces. My thesis is an examination of two instances where artists have broken outside the box and carefully crafted unique exhibition spaces within which an intentional dialogue between art works and viewer, art works and space, content and context is established. It considers two twentieth century artists from the United States of America, Mark Rothko and Donald Judd, both of whom rethought and ultimately rejected the mediating constraints prevalent in the conventional exhibition spaces of their time.
    [Show full text]
  • Beyond the Headlines
    BEYOND THE HEADLINES Who were the de Menils? John and Dominique de Menil, immigrants from France, became Houston philanthropists, activists, and art collectors. They founded the Menil Foundation (1954), Rothko Chapel (1971), Menil Collection (1987), Cy Twombly Gallery (1995), and Richmond Hall (1998), which houses Dan Flavin’s commissioned exhibit. What is the Rothko Chapel? The Rothko Chapel, founded by John and Dominique de Menil, was dedicated in 1971 as an intimate sanctuary. It is not committed to any one religion and imposes no particular traditional environment, but is available to people of every belief. A tranquil meditative environment inspired by the canvases of Russian-born American painter Mark Rothko (1903-1970), the Chapel welcomes over 60,000 visitors each year, including art lovers, scholars, and people of every faith from all parts of the world. The Rothko Chapel is an independent non-profit institution, a sacred place open to all people, every day of the year. In 2001 the Chapel was listed in the National Register of Historic Places, an honor awarded before the institution was fifty years old because it was considered of exceptional worth. The Chapel regularly makes top ten lists of places to visit, and is a featured entry in National Geographic’s book Sacred Places of a Lifetime: 500 of the World’s Most Peaceful and Powerful Destinations. It is a place alive with religious ceremonies of all faiths, and where the experience and understanding of all traditions are encouraged and made available. Action takes the form of supporting human rights, and the Chapel has become a rallying place for all people concerned with peace, freedom, and social justice throughout the world.
    [Show full text]
  • Howard Barnstone Architectural Tour
    Cite Fall 1988 Big Cite Beat RDA gala chairman Carolyn Farb with Dean 0. Jack Mitchell. m- Asphalt jungle: The Texas m- Fridge of sighs: As a means of at the dinner dance by a string quartet from Department of Highways and last developing bayou-front housing Jk the Shepherd School of Music. Transportation working with the downtown, the Harris County College of Architecture at Texas A&M Commissioners Court has resolved to Fifty-five birthday toys, created by artists will sponsor a national design convert the 62-year-old Houston and architects in recognition of RDA's competition for the beautification of the Terminal and Cold Storage Warehouse, 15th Anniversary, were displayed under 60-acrc intersection of Interstate Highway at the confluence of White Oak and Lovett Hall's arcade by art consultant 45 and Loop 610 in Houston. $500,000 Buffalo bayous, to a 4,200-bed detention Rocio Oden and auctioned during the has been set aside for the first phase of center, despite the protests of evening to the highest bidder. Dinner was construction in 1990. The competition, preservationists and bayou-philes. served by caterer Don Strange with spirits funded in part by a $45,000 National donated by the Quality Beverage Endowment for the Arts grant, will w The soft thud of tent folding: The Company, Hillman Distributing commence in October, according to Houston office of Skidmore, Owings Company, and the Atlantic Ice Company. advisor Harlow Landphair, professor of and Merrill will close effective Guests danced under the stars to the landscape architecture at A&M.
    [Show full text]
  • The Rothko Chapel and Architectural Activism
    Common Ground: The Rothko Chapel and Architectural Activism CAITLIN TURSKI WATSON Kliment Halsband Architects The Rothko Chapel is described as “a stillness that Houston-based architects Howard Barnstone and Eugene Aubry until moves, a quiet disruption, a sanctuary for the the project’s completion in 1971. seeker” where “any and all are welcome.” In 1964, At the chapel’s dedication ceremony, Dominique described the two Dominique and John de Menil commissioned Mark experiences that had inspired its commission—hearing Father Yves Rothko to design a series of site-specific murals for Congar’s 1936 lectures on ecumenism in Paris and visiting the cha- a chapel to be built adjacent to the University of pels by Léger, Matisse, and Le Corbusier commissioned by Father St. Thomas in Houston, Texas. This paper aims to Marie-Alain Couturier in 1952.3 Congar and Couturier were integral establish a relationship between the architecture figures in the Frenchrenouveau catholique, and both sought ways to and the chapel’s social program through an analysis apply Jacques Maritain’s integral humanism in the modern renewal of the Church. Congar’s work centered on social renewal through the of Rothko’s use of form as a vehicle for the union of ecumenical movement, which intended to unite the various Christian matter and spirit, ultimately opening the horizon faiths under a common mission and core set of beliefs. Couturier’s between the self and the other. efforts, on the other hand, looked toward spiritual renewal and the preservation of humanity’s physical and spiritual senses by commis- CONCEPTION sioning works of sacred modern art and architecture.
    [Show full text]
  • Menil Nowlast
    The Menil Collection derives from Johnson’s original design for the Academic Mall, which he conceived as a modern interpretation of For some four decades John and Dominique de Menil Thomas Jefferson’s design plan for the “Academic Village” energetically amassed a collection of art, internationally at the heart of the University of WALKING TOUR admired for its quality, depth, and eclecticism. Surviving Virginia. Down the long quadrangle her husband by 25 years, Dominique de Menil pursued are buildings that house the class- their shared dream of creating a museum to house their art, rooms, laboratories and other schol- The Menil–St. Thomas Quarter and in 1987 again chose a young architect, the Italian arly activities of the University. Renzo Piano. The Menil Collection was his first American Each year St. Thomas opens its commission. Like Johnson, Piano would win the Pritzker HOUSTON MUSEUM DISTRICT doors to thousands of visitors who Prize, the Nobel Prize of architecture, and go on to a attend free lectures, concerts, plays, distinguished international career. The museum building and exhibitions in buildings that Piano created is considered a masterwork, praised for its line the mall. attention to natural light, its modesty, intimacy, and Distinguished by their art and architecture, sophistication. Piano’s building observes the scale Four decades after its first buildings, Johnson’s Academic the contiguous campuses of The Menil introduced by Johnson at St. Thomas, and extends it west Mall was completed, and his widely praised design for the Collection and the University of St.Thomas across the Menil campus to the architecture of other Menil Chapel of St.
    [Show full text]