re IMAGERY or CHESS

2 GROUP EXHTBITION OF PAINTINGS. Forett:ord LPTURE,

ith the open n9 ofrhe renövated Noqlchi Museum in iune 2004cäme the introdu.tion of än expanded exhibition program. Foc!sing ön different a5pecrs of lsamu Noguchi's work in th€ col ecrio. and the context in which that workwas created has lofg been wlthinthe pLNiewöfthecuratoria function atthe lVüseum. Deve op n9 exhibitionsthatalso consider Noglchiin re ationshiptootherärtlstsandthe argersphereolrheanwordinwhich heoperatedseemedtobe an appröprlate next step YetNöguchioperatedinsomanyspheres- where and howto begin th s effort became the cha lenge. As these klnd5 ofthouqhts and mean deringswerctaking 5hape,awonderful oppoftunityarose: to reexamine and re.create Ihe lna,Jery.fChett, a eqendary mid twentieth.cenluryerhibir on thät represented the New York 42 Ff,sf 5l art wond ofwhich Noglchiat mid. ile was very mu.h a part.

The lnageryafCha$ Revt.ited evo ved from änd so a de5cription in the !€wtweet review Nogu.hi M!reumwo!ld cal The 1nage.y af a winning auction bid ln 2002 placed byThe ofrhe mat€ria being red end green p astic NogLchi Museüm's curator, Bonnie Rych ak, served asthebeg nn n9. Conrad nqartist When Ihe /Dageryolchere opened at brinq ngoneofthe nlne known existinq and model.maker Lary LlsI was the next lu len Levyt East Ffty.seventh Street chess lab es deslqned by Nog!chi lnto the nep in the evo ltion of lhe /nageryafChe$ !allery in December 1944, it was clear, l,4use!m's co e.tion. The tab e, a ongwith Feyielted. An olten reprodl.ed photoqraph however, thet thls was much mor. than a a chess set, origina y had been madeforthe {see covet ofthe art dea e,lLlien Levy dispayof ingeniousydesignedchesssets exhlbirtan The lnagery of Ch pst h e d ln i h e pLaying with the Noguchi chess set led to The exhibit on was ä.atalyst, work n9 on winter of 1944 45 atthe Julien Levy Callery further research and d scovery This numerous metaphoricä levels re atingto inNewYork oneof themoetexperlmentaL prompted ä proce55 of remarkable derective qamesmanship and battle r oc.Ltred al a venues at the time-for which artists and worl, resu ting in the rea ization of a nun (u. aljrndu,e in mid rwentieth cent!ry art otheß were invited to create their öwn ninq facsimi e set i a ,o be.äme apparent when the Eürocent.lc 5ure. ist movement che* sersorchess related art. of the thattheinitiä , euthinq had !neanheda wäs belng chal enged by yöun9er artists of adv ce of designer Ceorg€ Neleon, the 9r€at deä beyond what ltsei oltro do ihe emerglng New York schoo . World War Herman N/ lerCompanysubeeq!enty The numerols do.uments, ma9es, and wa3 ending !n ihe game of arr, bythe close produced a nLmber ofthe Noqu.hitab es indlydualsthatLatryListhadidentiledas oithe de.ade th. New York t.hooland irs in a cömmercia edirion between 1947 and part of his reseärch beLonged to an exhibi deiin n! sp rt5wo!ld be.onsidered,ifony 'l949.The chess set, howev€r, häd disap tion that had onq nrrigued ihe aft world ior 3 5horr i me,rhearr wör d victors peared lonq ago The Muselm decided that bLr, Lkethe"lost" Noguch .hesss€i, had ihe 5how,.onceived by Levyand the

a f acslmlle.hess set rhould be produced lift e n the wayofdocum€ntation and pa nrer s.u piör Max Ernst, was iniormally "5!nea in orderto have a true sense ofwhai a therefore had been Jca.ce y explored. n .urated by Marce Duchamp. The isi /Vewrweek revlew n r9,+4judged to be "the ract, not evei ä checkL5r ofthe Levyca ery sympalh zer"r and ch€ss master had forover most beautlfu piece in rhe []ulien Levyl show wäi known to exist. Accordi.g y, iwenry fve y€aß been absorbed byand show "rNogu.hi .tt no drawlngs ornotes ufderrheaegisofBonni€ Ry.h ak, Latry Lirt champ onedthegämeandhad met LevY con.erning the che5s set ortable Very ltt e was invired to continLe hit work and serve in I926 whe. D!champwa5servingät other informät on existed on rhe set ir3e f, asthe guest curarorloran exhibil on The Consiafrin Brancusi's agent in NewYork 9 + X m ffiÄffiÄ r $ h ÄX lill x A though he had qiven up pa nring ior.hess prominently assoclated w:th twentieth .en Soon after discoverin! Brancusi, via in the ear y 19205, Duchamp's intense tury art as wellas essobviou5 nameswho DL.hamp, Noguchi moved to Paris, hoplng invo vemertwith.hess and artwere mur!a went on tö accomplished.areeß in various töstudywith him, and hedid5o Noguchl as each discip ine informed histh n.in9 a5pectsofthedesiqnlie d Dr Zilboorq, a wou d sub5eq!entlyreferto Bran.usia5 his aboutdreorher He o..e remarked, "From psy.hiatristwho was we regarden in.hess menror. ln Par 5 during rhe ate 19205, my. osc.ontacrwrh anists and chess p ay. .irc es did not.reate a w.rk b,tr öi.e.l hi. Noguch al5o qot to know A exander Calder ere, have.ometothepe15o Ba!ha!, prototype ch.5s set designed by and he ater bc.ame. ose frienclswth thatwhieallarristsarenotchesspaycE, Aßhile Corky, the rimilarförms in the r a lches players are art st'."3To DLchamp Ihe /DageryofCless captured these work reemin! to echo this relationship. lre ihe connc.tion between art and chess retpeci vc ta.nts thro!qh rhe commo. /D,geryofClr€ss is perhaps in some ways a appeared seam css and he found klndred lan9ua9e of a board gam€ narked by ver! mitrörförorrowntines one in which war, 5plrtslnlheari si5 Man Ray, Ernst,and specific paramereß ihar m!st b€ addre$ed a vely f incestuous ari scene, rnd an abid in orderfor the !ame to be p ayed Yet, in! interesr nthe!ameöfchess playa pärt. Thelu en Levy Ca eryopenedon oo( n9 atthecontr bution that ea.h artist Designed for a very dlflerenr space in a Madison Av.n!e in r93r Levywasthefißt mädetotheexhibii on revea s ä distincr very d ff€rent ri ne, and aided by history, Amer ca. dealertö @present the 5utrea lsrs cotre ation to hls or her studio practice hlndsight, 5chölaßhip, and memory, "rev s European ömigres and rän öne ofthe f rst Noguch , for erample, wo!ld havejun it n9" Ihe /naqeryofah€5s has had as t5 galeriesoithetwentelhcenturytofunc. .omp .red the inter ock nq set compofents goa not onlyto bring toqether al extant tion as a convivia meeting p aceforartists. for Maltha 6rähami dance performance workswebeleveto have been inlu en Cocktai5 were seru.d at open n9s G pGc ticef r5t credited to Levyl Theatmösphcre appeaEto have beenrhatofa salon, a pläcelörthe ex.hange of ideas f rst and the commer. al busine5s of art second. n the suhmer of 1944 Jul en Levy and h s newwife, M!rie Streeter, shäred a bea.h hor5e wkh l",lax Erist a.d hi, wfe.to be DorothcaTann n9 | Creat Rlver, Lo.q ls and. Che* wa5 th.ir 9am€r however, acl ng chess setr, the onlyw.yth.y.ould pLay ü€s to de5i9n and.onsrru.r their öwn By exters on, orher arrists were nlitedtö create che$ 5€i5 and.he55 re aied!rtfor an eNhlbltion to be h.ld rhat winter at th€ lu en Levy Ca ery lnc !ded were eramp es by many recen! ömigres and a generaiiön of Amer.an rrtists whose volce5 were ju5r beqin.ing ro be h..rd The b.ochure announ. n9 lrc /mag€ryoi Cness desiq.ed by Duchamp,wthdraw Harodrade, which opened in October 1914 Levy's orig.a exhib tion buttocreate ä ingsol.he$piecesbyNlaxErnst features Hcwasalsowor.ing inhis NlcDo!9a A ey {ind of conceptua lramework forwhat no the parti.ipants' name5 arcyed in a che$ nud o on s.u prrres and drawinqs rhat ör!ersurvives in itsorig na form.Thishas board !tid, each app.aring in ieuofoneot forma y resembled hi5 chrss pieces The meant, i. additiön io thc fa.rimil€ Nogu.hi the thlrty two che5s pieces. The.öntribu che$t!blea owedtheärristrobringhis chess 5et,the consftuction of rep ica5 öf toE, olwhich nearly one q!arter were pLre s.u pt!ral interesrs rogether wirh thc three objects lrom the lgaa 45 show, alonq women, rcpresented a wlde ranqe of a!es, f urctional rcqLirem€nts of f!rnirure, an with assemb in9 doc!menrary photoqraphs ta ents, ind nätions ofb rth. Duchamp, at approa.h ihatwas alreadyev deni ln hls andorherepheme.a re ating to the oriq na f fty seven,wasiheo dest,while Richard R..{o !ße, whi.h he -.ated iorthe Zenlth exhibitonändit5part.ipanis,inorderto Fi powsl a studentarthe nsttut.oi Corporation in 1937 By 1944, hc had impanasenseof anorherplaceandarorher Design I Chicaqo who in effecr served as designedanumberoitabes,lncludifghis time Altoinc!ded nthlsiewerhibilioi lVaholy.N:9y! re5ponse ro rhe inv tal oi to nowfamou5glass topped coffee rab e,later are variou5 other examp es by conrributoß participare n th€ crhibirion wEjusttwen prod!ced bythe Hermaf Miiler Furnirure to Levy's Jhow, whi.h provide a contextfor ty one 45idefrom päinteß ands.u ptoE, Conpany, wh ch shares rhe Lse oi a tran5 the artist5' che$ themed work n this wäy, the group lnc !ded arch tects, sceni. and parenr materia and nler ocking a$emb y a halfcentury ater,we hope io bring to 9raph. de5lqnere, experimental photoqra- t i5 notab ethatthere ationsh p5 newlifefornewaud ences a particu arand pheß,twocomposeß,an indu5tria desiqn ähon9 the pärticipants rfhe lnagetyaf resonäft m.ment in iwent eth centuryart team, a ceramist, a resear.h librarian, and an Cre5twove a tanqled web of.onnections esreemed psychoanä y5t. The list in.ludes that ndeed deflned the alt world ofthc lenny DlNon

both visua arti.tc ann mr.i.iäir whö äre tim€ Levy hadwritten abo!t No9!chi,ifd Dnenor, The Naquchi t\,1 0seu n Noglchihad made a porira t bust of Levy. The Imagery of Chess Retisited

ts roots a5 a game of hen lre /nageryoiCie55 oPened matter. Wartimc tech. q!e5 oi.amouf age sk I Whi e.hess had Europeil ihe evening of Dec€mb.r 12, were often d scussed, stud ed,ardia!qht war,duringthe M ddLcAge5 in game y Love, the I944, at the lulien Levy Ca lery, by ihele artists, Calder and Arshi e Coriy, in al50 became the of court on viewwas af erceptlona .ol ecrion of parri.u ar Awin€ glassche5s5et.rcated by onyrocala.ivityinwhichsingleqente' cou d me.t wilhour.laper work5 by some oi the mon.reat v€ peöp e Br.rön and ca!a5, knowr today on yfrom men and adie5 L.vy's of rhe era. The announcement for rhe show reviews oithe exh btlon,wasjusrruch a one5 F.rtheircontrbLtion5to on, artlsc drew on their n.luded a statem. it, "On D€si!n nq warr m€ improv sation An exanp e oithe er ribii many.fthe lovc and waras Chessmen," whi.h had aid döwn a cha !enre of "pur rogerhei' ches5 sets, i was .vrn erper en.cs n bolh hirtoryandmvth lengetorraari sts and designers De.rying mottl keLyas3embledonamakeshiftboard {'e asrheirknovr'edqeof the Stauniön and Fren.h style chest sets, the standard p aying seis used niernationa Lys ncerhemid nineteenth .cntury, a5 stod!yand a.kinq in utiLty, it.a edfor new derigns that were mor. harmonlous to the touch and s qht" and "more adcquäteto rhe roLethefqur€ rasto p ayinthesiruggL€ " The proposii ön was alLur ng tothe ömi916 Surealists, in New York wairing ort W.rld Wer l, because ir offered a.ha enge that was borh dyrami. and .ontradlcro.y: .reate a beautif!1, lü.ctional des qn lor a non f!nct ona activlry Aongwithth. E!rop€an5, söme oi th€ American artisis, n.udinglsamu Noquchi,AeranderCalder, David Hare, and lohn and Xenia Caqe, va !edcommuiä a.dcreative p ayas an afi stic 5timu !r; hence, the concept for P ayeE the show dovetalled Perf e.t y wiih their of m ftoß fron äva able stemware panl.ipa.t5, like Du.hamp, aesihetic pracl .es. r wäe an etp!oralion of were to "dr nk the symbo!i. blood,"r of Some ofthe had bEen Max Ernsl'5 b€l rfthat "art is nol produced each.aptLred piece, rying the intoxi.ating Ernn, lllan Ray, and Yves Ta.9uy, passio.ate y enqaged for ma rv by one artist, butbysevera Liistoa9rert ! oler.c öf ihe 9amet. rhe who esalc wlth.hcs5 yeäß and had aLready n.luded che5s degree a prodlct oftheir €xchänqe ot deas .arnagecfthe argerwarrag nq on. The ln i ansparenr Pie.es, haf 5eenthrÖuqh, im:qeryordesi!n3intheirarimaking Whilesomeoithepartlcipants lnc ud half ref e.ted, onlhensevesi.iheimage l9r 9, Duchamp,livin! in E!e.oe Aires, gned prod!.eda 5trii ngl'/modern, inq l!l en Levy, the art dea €r('ho mountEd sp lnierin! ches5board des and .hese sel and table Th€iab e ihe show wrre av d devoree, ofche5s, i their worl! for lhe l,lageryofCrete, yei Lti tarlan bu ln.hc5, olheE, Lke Nöq!ch, Ri.hard F ipows(i, and thc artis min€d the ri.h a$o.iai ö.s of feat!redioldlr! Leq5and t Du.hamp tr'cu d movefromthe (urr SeL !.derstood th€ game and rhe qame and ire h nory, a numberofthen clock5 9mann, pic.eeona itshistorybutw.re not ntense yinlo ved inve5ti.9 thi, intenrati.na partime of arit- de! gnoithree d nentiona ar I manueii.5 a.d writirgs wiih it Thercwereeven a fcw i. the 9ro!p, ro.ats, v?at oß, prisoneß, and reftgees b.ard,tcf ![ ,, öiche55ra.ti.s,tc a beautifr , but E5oteric, L ke ihe Ch eän arch te.t turned painter th persona m.aningasweL Lnatime MaiiaandSütrealistrreoristand eader ol ('or d conf i.t, whlch the artisit were bool or.h.x.nc!ame ttrategy Man Rav, gnerofthegroüp, And16 Ereton and hityoung co lea!uelhe powerLe$ to nf !efce,.h.5t representPd the mo5i pro fi.des h 5 irteresi directed .ritic N co a5 Ca as, who open y opposed a.ontro able,tabletopform ol rtua war des.ribed o,ir a! qrirg rhe s!ppo5€dly rational basis ol che55 and fare, dclo dofchar.card pred cated on rowards de5 newformsför.he$ ollnven rid.u!ed the playeß as rar.i* sticard sell piece3. 1. n.aferi efi€ld 9a ticn ": l/ai Ernsl had been an avid .he$ p Dadadaysln Paris He nade The worksthar were produced were a5 ayersince hi5 h s eet knovr'n.he5s set in r929 afd had var ed a5 rhe participants The Wor d war ran ( thatsel emphasis on ration n9,r.cy.ing,ard 5ub5ti th€ nq, Oueen, a.d Bishopfrom rad nade an elegant, tltion of one nater al for another gave rise can n bronze Tan!!y m nima .he5s5erirom5ectloneof abroom ro i.gen ö!s de5 9n tölution: Che$ sels he Paris n l939,9ave were nade of.hy, p asier,wood,9 a53, !ti.k and, before lefl his ment.rand frlend,the scu ptor paper, p asti., meta , seashe lr, and even !tio However, on.e n red and wh te w ne Fron rhe factiratihe conslantin Bra.cü5 made of rhe war had forced many ofthe EuroPean par Ameri.J, Tänguy anorher.opv mon ike ti.ipants lnro exile rtatus, w th its accompa 5er i.rhimse f, wh.h wa5 Yrhe "playable chesttei" that both Levyand ny nq nomadi. uncertainty, came economy !irnoff relil,im!trq,:!,r,.!i Dsqbe. i t. stated he contribured to fue of meafs and poftabiliiy of de5 I ns, as we l Duchanp as a des relo canoufLage orvei! tubiect From the rear est efforts, Duchamp, Du.hahp and Ernn, owned numero!s book, Man Ray, and to a lesrerert€nt, Max Ernn, o. che$ ie.hniq!e, design, and hisrory entertained the dream ol -eai n9 a.hcs Unl [e mostga lerv owneß, Levy had sct d-.rignthatwou d be endoßed by chest a.tua yrakenstudocoußesinpainring, wor d profers ona s, produced conrin!ou5ly, phorögraphy, and sculpture H s simp e and ro d as a mä55 maricted tion.apable eqq shaped chers pie.es drew nsp ration of provid nga so!rce of in.ömeto 5Lpport f rom the ovo d Brancuii scr lprure he owned, otheraft n. p!cu rs.ln 1920, Du.hanp IhElewborn,wh e h 5 chessboard .om out l.ed his idcafora.hromar c che5s 5e1, binedth€A5ian siylegame board grid mäde inwhichthepiecesof hisBuenosAires5et of ce.ter po nis with the rtandard Wener. wou d becolor codedto ndi.ateihe r chersboard qrld of sixty.föur 5quares The dirc.rion oi movemef r, :nd have ii .onpo!nd !r d of 5qua'e, and.efier poifr5 e.doßed i.r salE by h 5 fr end, rhe che$ hadit5orginsintheche$boärdsof ndia, woid f !!re Frrfi Nirrsha ofNewYorl where it - mort i.ciythatrhegameorqi. Cty n r943, Duchamp:ttempted to.reate naled. C ass c ndian b r.t a.quered che$ ai improv€d veß oi ollhe standard po.ket boards ieatured d 5k shäped.ertcr po nt .heer 5et-,,h.h he ncluded ayear ater I ays of nother of pead wirhin an engravcd I Levy! exhibii ör-by r.de5i9nin9 the qrdolrq!ä esand diir n.tlve red and 9'een .e rloid piece5, affixing ea.h one,,ith ä p n .he$ p eces The ndiänc.ors.hemewas to marc p aynore se.ure, and markering adopted in the che$ table and 5et made by ir: ij lF (]i9.b''.j lie 0 'ilr therer,,iththe mprimar!rof .heismaner N09u.hi,who, fami larwiththe irad tiora arts ndia, subn tuied whiie acry ic of 0rnh q!. ?i. roü d-r Lre) r 13r0 re5.!arl Whilerheseideas r tinaie y proved p asl cformötheröf pcar insers I ihe on unwor.able, ceram si Carollaneway su. h 5tab e a.d usedrGns u.€,t red and qreen .e.dedirearlyl944inprodu.iiqa.hes5 Trvo rnalor5cu pt!res made rpecif.ällyfor ,er ihar mriniained e emenis 0füaditional L.vy e rbeCded seashelG to.reatc rh. r944 ,+5exhibr onwere by Mar Emn seisblrwas n.rcmodern in it3design and .räter ire.crtcr point5 lnwhich his ro!nd and Dalid lrr€ The5ewereshown lntheir 50 d lttoawideaudiencethrough rps.a e boltomed che5rp e.rswoL d nerr Foihis criqinal p äsier siat.s, as wartime restri. 5tor.t in NewYorl and LosAngeles. Fer wh te game board s ab r dd .d wirh .rateß, 1 on5 made bronze ior.asi r! aftworG pre.es, inexpens vero prod!ce,\,ere mäd. Le'ry ike ywas fsp red byC r.omeii': :.are and expen5ive Each depi.ts a '1932 oibrqhr y.olore.l! azed ceEm ca.dwe e 5.u ptLre On netorep/rt fli. M.re ;rnir5: . b€in9 p alin9 a qame at a 1äb e, half theszeöfth.s.byotherd€sl9neß A P/äy.], a wor(f Etsh.ü'n byrhe dea er {ho !vi:h irspirarior.omingfrom med eva ches5 ver:ionoflhe.he55setwasd 5p ry€d in ft€ a 50 owned ihe p e.e. c a.omerr!, h nre f, ore,Arthuran egcndi,andCree{mytholo I nragc t y ai Che ß Aite' reeing the lrnewry mayhavedrawnfrcmihetrrcticra Aircan !\,, a5 we l3s ihe rea - ife r.narti...nili.is set in N.\rYorl ln 1945,l.4an Ray began gamesofiand Bao, ea.h p aye!.n a !eriEs ,, irin th€ arrlsts' soc a . r. e. ForIhe (tq to produce arge edit orsofhall5ized, of pa m 5ized .rareE 5.oopeo C re.tly ni. Pirymq wrrh rle O!ee,, Efn5t employed rhe janry.o bri öred a uminrm.hEssec, theearih ardnomthEtradll on cl Frer.h s:meäPpröa.h r.u5ed in h schess sel whi.h remarletedrhroughpromir.ntrerail p/qre 53b/eche* rei5, nrJ!ef.rpl:y n rhe des qn comb ning and r€f.in9 .ast p aster form5 fron his s!no!ndings whil€ ii is mor. ke ythat llare'5 form5 orig naied iloderr Forns, Modern Mäteriäls i i the arti5i5 imaginatlon. The modernirt artis- ardd€s gneE Wh e l',,lan R6,,,, F ip.(st , Farrw q, and invo ved in -rl€ /drgery ofal€5s 5ö!! rt t. Tan!ut sou!hl io r.dN.e ih..he3s 5et to Paintings and Drawings: Lands.apes, Crids, br€ä( wiir rradition in a n!mberolu'ay5 mrn ma , untrarY 9eoneir c i.rrs, .rher Duchampbcaantheprocess by5 mp fy nq artirt5 p..Ed iogether scavenged öble.rt tue r,ageryofCheis also 9ale r se to ä and abn'acring rr. ttandard form5 Man and nareral:ör.o lr9!d ima!es into com diveße, yet rc ared, gro!pofpalnr fgs and Ray red!ced the piecer to pu re gaometr. posl,elorm5 Ku t5e i!nrfnpa nred or draw ngs 5öme woris lsed rhe che5sboard 3olid!,wh e losef ilariwig, oi the Bauhau5, :lerchec 5pe.ira f iqurer rhrt appear as !o map reä or magined peEpe.riva and and Tangu! desi!ned new geometric for ns .onposile5 oi bon€5, armor, f esh, and 5.apes Othe13 featu'ed the chesrboard qrid ihar de.i f.d rhe pi€ce5 solely by hierarchy oiherdctrtu: Rob€ri Mcthef,el !red asrbasi5fora newrype of p ctor alspatia afd d.ecrion ofmövenrent The era's.lrive 5cr3Ps oi re: matera15tocreateh s system, perhaps pr.saqing arer Min mali5t toward 5!bstilut nq one hrter al ior anot l co a!es,wh ein hisfg!ra nidcwigshe 9r d pa nlinq. Che* pie.e5 !vcr. p.rtrryed er lcdtothe rep acenent olnaiural wood s

iiqe1.i.jrJP.riJr.4cdE.brLr'/:si(ir4 / r:i?N.qd Mrcln ! Ihe lnagery af Ucit, )ulicn Lcvy Gallcry, 1944-45

Therc is ha knöwn extantcheckßtöfthe ariginal exhibit9. Thefallowing litt was reconstruaed in 2AA5 usih11944 45phatögraphtanddocunentt.Anattansktndicates awark payibly, but notcanclutively, inthe exhibition.

Andr6 Breton.nd Nicoläs cälas Icalämarisl Josef Hanwig. 5ee zilboo19 H.J.R. lHärordlames Ruthven] Mumy t/r'ine AlassChe$ Set. 6)atte. ot te.|an.) 'l A/srory or Cness. Fißt ednion (Oxfordl whitewine on mltrorboard Dare unknown Clar€ndon Pre$,Isr3). lc r 9441 Unüled Chetr Drawnrss.194s aer af thrce Pencil, in(, and watercoloron paper aheu Sei 1944 R€d and green probab ya.ryli. ClcrsPic.et. 1944. Elack and whlre lnk oler Cher.Ser 1914 C azed cerami.. CheßTabte 1944 Ebonizedjoined birch tab e 'Che55 lable. c l944. Hand.painted c€.amic ropwith r€d andtrans ucentacry icp a6t c ins.ts, eboniz€d vene€r iumber p y le9s, and creit läble t9,14. re Wood.dowel struct! pa nted oranodlzed casr a umjnLm storase MoblG5 (exactt t es unknown). 1943-44. Wood str pr,thread, wi€,and colored rice paper. The Plateau of Chees 1944. Oi on ca.vas

aherssere,ade (musicrora che$ bale0 r944. 'Astenblage Che.s Ser and Raa.d.t 1944. ChetsVilage . 1944 Photomonta,ler one- Rod and black ink on music paper Pa nted iound wood and pa nted plywood. pa9etypewrittenessayon€eman/chess 'Car/ed Wacd Che$ Ser an.l Baa..t. c 1941 4. vll aqe" ol Stöbeck and threeturn of the Carved wood and paint.d plywood. twenii€ih.entury ncwspaper photog€ph6 NearineFileC.ne.i. 1943.Oi on.anvas. olchidren playing chessjmount€d on mat ^|be CheJr (irg. .. l q44 Carledwood Xanti iAlexanderl 5chawinsky The Knightnates Pa,iaha r944.Thilty tivein< ß Ch€$ a MartialGane?. 1944 'Cheß 6ane 19aa Black aid whitephotograph and water.orord€w ng6 on paper Phoromonrase: b ac. and whitephotograph, Chei5lab/er5seDb/age. c. r 944. Wood table 'naleltnq ChestSer Pieces w ih 9ax.1942. two b a..ard whlie maqazine photographs, with clear a..y i. p asric che55boad over a Pa ntcdwood, metal6crews, aid benimeta andiyp€written capt ons glu€d to matboard. bla.k and white phoio9raph; ca6t manneqüin handj acryllcp asti.rodsj andwood Rd!tence

Fron Cleis serier. . 19.44 Ollandwashon Ches tet rnd Eaa t 1944 Chesss€. stained afd painred o.k. ro,..rr relnrorced plarter trith in.i5€. incs and 5.ashelLs , /,e ahe55 Mar.h. '1944. Oilon canvas. Plaie. Chets Pie.e Prclatyper 1944 Plasiet lhe /nrqerrof Che55 iivitation/brcchure 1944. Redandb a.k nkon paper Ile Clreß QreprJ r944 Oil on.anvas 'L Oppatniah et Let Catet Canluyie.Sant Man Ray IEhanuel Rädritzkyl P a ca nci I i d e,/A ppa. n ian ü h.J w e ne ne t de r Wood a6€5i 5er. De5i9n€d I9,14j cx€.ut€d 5ir.l Du,.h V.ßahnt/Oppo,nian'ch an.t Stitet l9a5 Natu€land ebonized bir.h Cress Pa,rl,q Daieand medium un[nown. sq,ircs,4rc P..o,.i/ed By Mar.€ Du.hamp 'The KnrghI. laur... 1941-46. Oi on baatd. andViia y l a b€ßtadr (Parir and Bruscls: L'Ediiions L'Echiqu er, r932). Silvet Che$ 5e1.1926 Siver plat€d and 'Bh.k ahdwhire Ca5te r944. Couache ox dized siverplated bras5. Pa.ket Ches Setwnh Rubbat Glav. 1943-44 'Che15 5et.,d Iabl-". Replica of original {berore Leatherpocket.he$boardwithc€ luloid.he$ 'Croup of .hes5iet design d€wing, . r939)made by a'1i5r, c r944. Painted wood 1920 45. (possibly postdat€d). A$ored drawiigs n pencland inksonpape., black 'My Lrfe Whne and Rla.k'l944.Oiloicanvas and white photallraphs, and photograns. PlasretCha:s Set Pntotype 1914 'seli Pan.aii c.1944 Rla.k and wh re rl/aad Che* 5et r944 stained boxwood. End6rne I S,l-1. Ollon canvas fhe Kjhs Playirg||iththe Queer. 1944 Faner. Matta IRoberto s€basrian Antonio Matla ror,.e,ie el ((in,l, and Bjshop). r929 lo, Quoaf Ba u hau t Prctatype Ch e $ Set, 1 923, b\ 6 fhreatta a Whila Q 194-1 Penci,.rayoi, loser Hartwi9 (contributed byDr. Zilboo19) sir.regi V./xe Chetjboad 7. 194.1. Modium Untitlcd. pencir and.ralon on paper ' east-44 paiii.jpartr Sitatesi.l.lrc Chet:ba d2 (Posibly byErnst.) ln the eNhibition whosewo.k has r944 Couach€ of papermount€d belw€en notbe€nidenrli.d n.Lderhetolowins: 'TheEta.dyQueen.1944. nd a inkandwash on Siratesi. value Ches.baaftl 3. (Po$ibly by Ernst.) Arshile Gorky lvosdanik Adonianl 1944 Medium unknown 'The Queen 5 Aanbii A..ep|ed. 1944.lnd a ink andwash oi Straihmore paper. 'v L€ner 'r94.1. Rev sed and r.11e.l View fnrn CloarClersSer. 1943 Acry i. plartic a Hrqh Tawerin 1441 Collageandoilwtrtopo. graphl.mapofbart efie d (origina lyaverti.al

Mag ician s Aane. 1944. Ptatlet. Public Programs FamilyWorkshops Nogu.hi Museumtogether Jehnifer Shahadeve, theWorldll I Famil e5 are invitedtoexperlenceThe through a variety of 5pec alLydes gned a.tivities, includ rg 2:00-5:00 pm toußandhand5 onworkshops Reservatiön5arerequiredfora Visltoß to The NogL.hi Museum wlll have the opportunityto workshops. Please ca lTrB 204.7088, ext. 205. challeng€ JenniferShähade,2002 and 2004 United StatesWomen'5 Chess Master, inaqameofche$ Shahade här been ha edas the nronqest American born female chess player in hlnory. Saturdayr, October,Is,29; November 19r Decenber 10; February pm Participarlon ln this event is on a fißrcome,first 5erved bäJis. 18; Märch 1. 10:30 am-12:30 Forfäm lies with chi dren ages s-'ll se(ond Sundays: Dialogues on Art, Architecture, and Design The3econd Sundäyofeach month,ät 3:00 pm Art for Famili* Special Workshop: Being Che55! Freewith Museumadmis5ion Saturday, Iänuaiy 14 '10:30 pm The se

March cheß Sets: ModernistArtand D$iqn {and Beyond) Saturdays,OctoberE,22; Decenber3,17i Februaryll,2s; Sunday, Novemberl3, 2005 4.10:30am-11:30am RobertRabinovtzwil moderate a discusion ondeslgnevolui on as Forfamilieswith ch drenage52 4 refleded inche$ setdesigf. Pane lstswil inc!de Mi.häelCEVes, Do!qla5 Polumbaum, änd Mark SandeE Afterthe di5cLssion, g!ests wil beabl€toviewtheflnalstsfrontheMute!m'sco eqlateches CalleryTälks and Croup Touß s€tdesigncompetltionandthewnnngdesignwilLberecoqnized Takepaceat2:00pm,WednesdaythrouqhSunday,andäreopento all ndividLal visitoß. Reservations are not reqLired. As part ofthe Sunday, December 11, 2005 Se.ond Sundäys seriesof p!blic programs,rhe 2:00 pm gallerytalk Mod€ratorPaLlHoffmän wil lead a pane discussiönwith noted wi a sobeavailab erran5 atedintoJapänese writersL C. Halman, authotofTheChe$Aftßt: Cenius and l'"la.|ne$ in the Wa d\ Oldest Oane, and JenniferShahade, authorof Ch€55 B ttch: Wah,"h in th -" Uhinate I ntel lenual .reractive visitstoThe Nogu.hi f,4u5eum are ava labletostudent5 'pott. in grade5 Pre k-'lz,Wednesday Friday,year round AL visitsareled by MLseum Educatoß and are de5 qnedtoenqaqe studenls'minds Sund.y, January8,2006 and 5ense5 as they explore the work of lsamu Noqlch Lary List,9!eJt curator of Ihe lnagety af Chest Revisite.l,||il disc!ßtheexhibit ofandwila so exp orethe siqniflcan.eof undertakin! the reconstru.tiof of the original /na9€ryof Ch€55 Conducted by M!seum Ed!catoß, qroup touß for adu ts erp ore andthelntluencethatthel944 45exhlbltionhadonthewo.ld5 spe.ific works in the lvl!seum, focuslng on ihe w de varlety of materia s and approaches employed by 5amu Noguchl. Tours tränslated inro Japanele and Spanish are avai ab e. Chess and Art: An lnterplay of Di3ciplines Sunday, February 12, 2006 Plea5e note: FM headseG förround amplificalion ar: ava lab e for a 9rouF lnsplred by Marcel Duchamp'rfamous starement, "Nöta änlste roußup.n r€qtre5i. 5 gn laiquaqclit€rprerar onl.räli p69mmsi.availsbe are.hess players, but aL chess playerr are artists," The Noguch w th fourweeke advan.c nor.e These sefl.:s efree.Toschedulea!dtrp Mute!m wil host a disclssion on the interplay between the iour, o eäse visil rhe Mu5eu n'5 web siie n wvr'w noqu.hi..rq or.a discipL ies of aft and che$. Cuestcurätör Lärry Llstw ll serveas möderator Panelists inc !de Francis Näumann, WendyCrossman, Proqram5 are s!bje.tio.hanqe, p eare visit ourW€b ! re or.a11713.204 7093

rhe maqeq orchar Rev 3 ted rJ Juppode4 rhe t3nr Naq!.hi Faun,l.tida rntl ta,ler Mrratn ß 'n r.d, wit prbti. rtrds ft arn the tktiarn Endrwhent tat the An. atdthe Ne'| Ya Süi cauh.it E"dawnert fat the Anr, ie New va* Stat. anta.t an ateerr E.nuqh Preri t.nr H.t.a M Maßh,tt, N?w fa't Patet v,ttan?, an.t En. tt .n a r lrt p s6t i pt a9 ß nß thü aL.anp any thir tth tbira r the Anr, and ie Atr at N.w Ya* D Cjty CauD.t n.nbeß F n. Affur'lheMßelnglüefJl]|{lr t) intz, j d $ e A leer. DE teqaton frcn the ln,tepen,ler.e Cnhntrnr Fo bh+eddth.rPPad rn n i ? a 2 nd St eet FtDri, Ara tnb ct q Folnrtatian, pha'lcs ,od iß De.t,tts FaurttanaL tnc. Ihe Mu:etn .tso Etaanbeg, c ne.tE aaryatanar nf N?w Ya*, E rn.t Leana B G'pen?tFaun,tatar, CanE,lhaD, De,t3|u: (zptan iau rtl3 iah''\ha'e gen ! anty an d sup paa h.tp ed hät e Farndatan, tnt , )ar" K h'd:ar (t M Funl1),

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