Glenstone Field Guide

Home , David Hammons, Glenstone, Installation art, Jo Baer, Land art, Martin Puryear

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Published on the occasion of the opening of the Pavilions at Glenstone in 2018.

Editors: Emily Wei Rales, Anne Reeve, Fanna Gebreyesus Text Editor: Claire Lehmann Art Direction/Design: Aï Bihr Graphic Design: Steven Wu Illustrator: Jordan Awan Printing: Spectragraphic in cooperation with Rolling Press Published by: Glenstone Museum

Every attempt has been made to identify and obtain permission from owners of copyrighted material included herein. Errors or omissions that are brought to our attention will be corrected in subsequent editions.

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any other information storage and retrieval system, otherwise without written permission from Glenstone Museum. 4 Contributors 7 Key Glenstone Museum 8 Map 12100 Glen Road 11 Tips Potomac, Maryland 20854 13 Art www.glenstone.org 75 Architecture 93 Landscape ISBN: 978-0-9998029-2-2 117 Index LCCN: 2018904960 119 Notes

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Published on the occasion of the opening of the Pavilions at Glenstone in 2018.

GS1581.indd 3 8/15/18 9:24 AM Contributors

Adam Greenspan (AG) Emily Benoff (EB) Leigh Rollins (LR) Paul Tukey (PT) Tim Curley (TCu) Landscape Architect Guide Guide Chief Sustainability Officer Horticulturist

Alana Hill (AH) Emily Grebenstein (EG) Margy Rodgers (MR) Peter Ibenana (PI) Tony Cerveny (TCe) Reporting and Applications Communications Manager Horticulturist Community Outreach Chief Operating Officer Administrator Coordinator Emily Wei Rales (EWR) Gaby Mizes (GM) Tornike Gamziani (TG) Alexandria Sayers (AS) Founder and Director Director of Registration Rebecca Altermatt (RA) Security Officer Curatorial Intern Chief Archivist and Librarian Eric Love (EL) Martin Lotz (MLo) Thomas Phifer and Partners Ali Nemerov (AN) Landscape Superintendent Director of Facilities Samantha Halstead Santez (TPP) Assistant Curator (SHS) Architect Eric Thornton (ET) Mary Beth Tsikalas (MBT) Assistant Registrar Amani Lewis (AL) Guide Director of Finance and HR Tuong Huynh (TH) Guide Samantha Owens (SOw) IT Specialist Fanna Gebreyesus (FG) Matt Partain (MP) Conservation Fellow Anne Reeve (AR) Editorial Assistant Deputy Superintendent Valentina Nahon (VN) Associate Curator of Grounds Samantha White (SW) Director of Design and Jamiee Shim (JSh) Guide Development Bill Lehan (BL) Guide Max Levin (MLe) Chief Engineer Guide Sarah Elder (SE) Jason Hedges (JH) Guide Brian Patterson (BP) Information Technology Michelle Clair (MC) Chef Manager Visitor Experience Senior Steve Carrick (SC) Manager Director of Engineering and Carly Davis (CD) Jon Sander (JSa) Maintenance Assistant Librarian Aquatic Horticulturist Mitchell P. Rales (MPR) Founder Steven O'Banion (SO) Chris Ryan (CR) Karen Vidángos (KV) Director of Conservation Split-Rocker Specialist Communications Coordinator Natalya Rapundalo (NR) Administrative Coordinator Stockton Toler (ST) Clive Jerram (CJ) Kati Borchelt (KB) Director of Visitor Experience Building Engineer Operations Coordinator Nora Severson Cafritz (NSC) Manager of Curatorial Affairs Tessa Brawley-Barker (TBB) Colleen Garibaldi (CG) Kaylie Ngai (KN) Librarian Guide HR Coordinator Paul Goldberger (PG) Architectural Critic Tim Butler (TB) Elijah Majeski (EM) Laura Linton (LL) and Historian Head Preparator Guide Chief Administrative Officer

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Adam Greenspan (AG) Emily Benoff (EB) Leigh Rollins (LR) Paul Tukey (PT) Tim Curley (TCu) Landscape Architect Guide Guide Chief Sustainability Officer Horticulturist

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Subject Term (e.g., Artist's Name)

A short definition exploring an element of art, architecture, or landscape you may encounter, as described by a Glenstone associate or Definition collaborator.

Contributor – Author Initials

See Also: Cross-Reference Related Term (Page Number)

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Subject Term (e.g., Artist's Name)

A short definition exploring an element of art, architecture, or landscape you may encounter, as described by a Glenstone associate or Definition collaborator.

Contributor – Author Initials

See Also: Cross-Reference Related Term (Page Number)

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1 Parking Groves A Jeff Koons 2 Arrival Hall B Tony Smith 3 Main Path C Richard Serra 4 The Pavilions D Michael Heizer 5 Café E Felix Gonzalez-Torres 6 The Gallery F Janet Cardiff and 7 Patio George Bures Miller 8 Woodland Trail G Andy Goldsworthy 9 Lily Pond H Ellsworth Kelly 10 Boardwalk I Robert Gober 11 Environmental Center

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GS1581.indd 9 8/15/18 9:24 AM Tips

1 We love art. We love our visitors. We love visitors who love art. That said, we ask that you refrain from touching the artworks (including the outdoor sculptures). This helps us preserve and protect this stuff we care so much about.

2 Any questions? Just ask any Glenstone guide or associate (wear- ing a silver bar pin) for assistance. We are here to help!

3 When you want to sketch or jot down a note, feel free to use a pencil to record thoughts about your Glenstone experience in the notes section at the back of this book (fun fact: the grid used for this section is the one Thomas Phifer and Partners used in the early stages of designing the Pavilions).

4 We don’t allow photography indoors (we’re hoping you use your eyes, not your viewfinder, to experience the art), but feel free to snap away in the landscape. We just ask that you watch the art, and your step, when taking any pictures—especially when it’s selfie time!

5 There’s a lot to explore outdoors at Glenstone, and we hope you explore it all. Wheelchairs are available on a first-come, first- served basis. Please note that the Woodland Trail covers varied terrain and is intended to be experienced on foot.

6 We practice Leave No Trace principles at Glenstone. Please be mindful of the delicate environments you traverse by disposing of your trash in one of the provided receptacles, staying on trails, and keeping wildlife wild. We ask that you leave your pet at home. Service animals are welcome.

7 Stop by the Café and Patio to rest, refresh, and take in views of the forest. The Café offers communal seating and a seasonal, farm-to-table menu. The Patio provides counter service and offers tea, coffee, baked goods, and other light fare to enjoy inside or alfresco.

8 Glenstone is a tobacco-free site.

9 AND . . . we’d love to hear from you! Please share any feedback about your experience with us at [email protected], or tag any photos or musings with the hashtag #glenstonemuseum.

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2 Any questions? Just ask any Glenstone guide or associate (wear- ing a silver bar pin) for assistance. We are here to help!

8 Glenstone is a tobacco-free site.

9 AND . . . we’d love to hear from you! Please share any feedback about your experience with us at [email protected], or tag any photos or musings with the hashtag #glenstonemuseum.

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We believe that art has the power to help us understand our history, expand our sense of curiosity about the world, empower creativity, and form meaningful connections with others. Our collection focuses principally on artworks made following World War II, with special attention to the great “disruptors,” artists and artworks that have directly impacted how the story of art has been told in our time.

All artwork on view at Glenstone comes from the museum’s permanent collection, and we aim to present these works in an unhurried and contemplative environment. Whenever possible we work closely with artists and their representatives to ensure the best possible presentation of their work. The following section contains information about the various artists, media, and movements that are currently on view.

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Abstract Expressionism Abstraction

This famed movement is as- Abstraction is an artistic See Also: sociated with a group of New approach that resists Abstract Expressionism York artists who rose to great figurative or representational (14–15) prominence in the 1940s and methods in favor of an Arte Neoconcreta (16) 1950s. Abstract Expression- exploration of the funda- Bourgeois, Louise (22–23) ists believed that artmaking mental elements of visual Gutai (39) was best served by total composition: form, line, color, Kelly, Ellsworth (44) expressive freedom, unen- and texture. At Glenstone, Marden, Brice (48) cumbered by premeditation or many examples of abstract Serra, Richard (65) preconception. Their processes artworks can be seen in the Smith, Tony (68) resulted in abstract imagery galleries, such as paintings Still, Clyfford (69) intended to represent the by Clyfford Still, Rosemarie Trockel, Rosemarie (70) artist’s interior self, such as Trockel, and Gutai artists in the color-saturated canvases the Room 2 installation, and of Mark Rothko, the dynamic Brice Marden’s Moss Sutra and frenzied drip paintings with the Seasons, 2010–2015, of Jackson Pollock, and the in the Pavilions. In the densely gestural canvases of exhibition Louise Bourgeois: Willem de Kooning. To Unravel a Torment in the Gallery, sculptures such as –TBB The Quartered One, 1964– 1965, and Noir Veine,1968, See Also: explore abstraction in three de Kooning, Willem (32) dimensions. Out of doors, vis- Kline, Franz (45) itors can encounter abstract Pollock, Jackson (56–57) artworks in the context of the Rothko, Mark (64) landscape, such as Ellsworth Kelly’s Untitled, 2005, across the Gallery pond; Richard Ser- ra’s Contour 290, 2004, in the meadow; and Tony Smith’s Smug, 1973/2005.

–AN and MLe

Abstract Expressionism

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Abstract Expressionism Abstraction

–AN and MLe

Abstract Expressionism

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Appropriation Art Arman Arte Neoconcreta

The term appropriation art b. 1928, d. 2005. Arman was a Arte Neoconcreta was a encompasses a wide range of French-born American sculp- postwar Brazilian movement practices in which existing tor sometimes associated with formed in response to the imagery or objects are “bor- Nouveau Réalisme, a French European Concrete art style rowed” and recontextualized movement that evolved in of the 1950s, whose aesthetic to generate new meaning. parallel with Pop art in the rigidity Brazilian Neoconcreta Marcel Duchamp’s recasting 1960s. Like his peers, Arman artists felt could not fully ex- of the everyday object as art was influenced by Marcel press the human experience. (e.g., a bicycle wheel) is an Duchamp and Dada, and Arte Neoconcreta artists— early example; decades later, his work explored the use of who worked in an abstract artists like Andy Warhol and ready-made objects as well idiom, thereby evading censor- Robert Rauschenberg took as themes of repetition, mass ship by a dictatorial political imagery directly from popular production, commodification, regime—were concerned media in order to create their waste, and destruction. Such with the political and social art. Another famous practi- themes are evident in the as well as the aesthetic. This tioner is Elaine Sturtevant, work on view in the Room new means of expression was who pushed appropriation 2 installation: Home Sweet revolutionary in its focus on even further by re-creating Home II, 1960, a conglomera- art as experience and on the famous works by other artists tion of gas masks in a wooden relationship between people (including Duchamp and box. Ominous and impactful, and art. Several artists as- Warhol). Artists working with this work is an example of sociated with this movement appropriation continue to Arman’s Accumulations, a are on view in the Pavilions, question ideas of creativity, long-standing series made including Lygia Clark, Lygia originality, and authorship— using found objects arranged Pape, Hélio Oiticica, and Mira questions that feel especially in wall-mounted boxes. The Schendel. relevant in the media- work’s sweet title betrays its saturated twenty-first-century darker implications, evoking –SE world. the realities of European wartime life and its material See Also: –EM residue. Clark, Lygia (26) Oiticica, Hélio (54) See Also: –KV Pape, Lygia (55) Duchamp, Marcel (32) Schendel, Mira (65) Hammons, David (39) See Also: Rauschenberg, Robert (60) Assemblage (18) Readymade (62–63) Klein, Yves (45) Warhol, Andy (72) Nouveau Réalisme (54)

Appropriation art

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Appropriation Art Arman Arte Neoconcreta

Appropriation art

GS1581.indd 17 8/15/18 9:24 AM 18 Arte Povera Art Art Basquiat, Jean-Michel 19

Arte Povera Asawa, Ruth Assemblage Avant-Garde Baer, Jo Basquiat, Jean-Michel

Arte Povera, translated from b. 1926, d. 2013. American Assemblage is a three- Coined in the nineteenth b. 1929. Born in Seattle, Jo b. 1960, d. 1988. American Italian as “poor” or “impov- abstract sculptor Ruth Asawa dimensional medium that century, the term avant-garde Baer is a painter especially painter Jean-Michel Basquiat erished" art, was an Italian began making art as a child, utilizes prefabricated or found originates from the French known for her Minimalist began his career as a musi- movement originally founded leaving marks in the sand materials in a format analo- phrase for “vanguard” and has works from the 1960s and cian and graffiti artist in his in the late 1960s, employing with her feet while working gous to two-dimensional col- come to refer to art and artists 1970s. These works are con- native New York. Born to unconventional processes and on her family’s farm in Cali- lage. Referring to both process at the forefront of innovation. cerned with how boundaries parents of Haitian and Puerto materials. Its name, coined by fornia. Later, Asawa would and product, assemblage can Avant-garde art is ahead of and borders influence visual Rican descent, Basquiat the Italian art critic Germano continue to draw even while be traced throughout various its time, marching toward perception, as evidenced in rose to prominence in the Celant, reflects the humble forcibly resettled in various movements in Western art the unknown, daring the rest Untitled (Wraparound 1980s, rapidly shifting from nature of the materials used World War II internment history, beginning with Cub- to follow. Whether fueled by Triptych–Blue, Green, spray-painting buildings as by its artists, including rags, camps for Japanese- ism in the early 1900s. political, historical, philosoph- Lavender), 1969, on view part of the artist duo SAMO twigs, and dirt in addition Americans. Today, Asawa is In using materials not typi- ical, aesthetic, or even person- in the Room 2 installation. to selling his paintings in to traditional elements such best known for the three- cally associated with fine art, al motivations, avant-garde This three-panel painting esteemed SoHo galleries. as oil, canvas, and marble. dimensional use of line in her these unexpected amalgama- art challenges established subtly reorients the viewer’s An autodidact who easily Working with these materials woven wire sculptures—in- tions expand the accepted no- standards through radical perspective, using attenuated crossed artistic boundaries, was in part a challenge to tricate, organic forms like tion of sculpture. Examples of experimentation, questioning bands of color to pull focus Basquiat drew on his pluralist conventional art institutions Untitled (S.531, Hanging Six this tendency and practice are what seems unquestionable, from the front and center of heritage and his experiences and art markets, as works Lobed, Two Continuous Inter- widely demonstrated in works and changing history along the canvas to its sides—a of racism, recasting episodes incorporating such ephemeral locking Forms), 1950, one of in Glenstone’s collection, such the way. gesture that emphasizes the from his past into canvases substances resist easy com- three works by Asawa on view as Robert Rauschenberg’s three-dimensionality of the featuring novel arrangements modification. Certain artists in the Room 2 installation. Gold Standard, 1964, and –EM object and its relationship of text, abstraction, and associated with Arte Povera Asawa believed in the power Yayoi Kusama’s Accumula- to the wall. Baer’s practice stylized figures. His work are still alive and making of art to effect social change, tion on Cabinet No. 1, 1963, See Also: later developed into what she Frogmen, 1983, a six-panel work in this vein, including and was a committed arts and both on view in the Room 2 Abstract Expressionism now calls “radical figuration,” mixed-media painting, is on Marisa Merz, whose Untitled, education activist throughout installation. (14–15) which fuses symbols, images, view in the Room 2 installa- 1977, is on view in the Room 2 her life. Arte Povera (18) and words into nonnarrative tion. installation. –SE Exhibition (34) compositions. –SW Fluxus (34) –EG –SW See Also: Gutai (39) –RA See Also: Arman (16) See Also: See Also: Abstraction (14) Collage (26) See Also: Collage (26) Boetti, Alighiero e (20) Community (85) Bourgeois, Louise (22–23) Abstraction (14) Haring, Keith (39) Merz, Marisa (50) Sculpture (65) Readymade (62–63) Minimal art (50) Warhol, Andy (72) Postwar art (58) Painting (55)

GS1581.indd 18 8/15/18 9:24 AM 18 Arte Povera Art Art Basquiat, Jean-Michel 19

Arte Povera Asawa, Ruth Assemblage Avant-Garde Baer, Jo Basquiat, Jean-Michel

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Benglis, Lynda Beuys, Joseph Boetti, Alighiero e

b. 1941. In the 1960s Amer- b. 1921, d. 1986. Joseph Beuys b. 1940, d. 1994. Italian artist ican sculptor Lynda Benglis is widely recognized as one of Alighiero e Boetti created developed a practice in direct the most significant postwar a lastingly radical body of reaction to the formalism— artists of the twentieth centu- work in a comparatively short and, some would argue, the ry. Beuys believed that “ideas lifetime. Boetti was especially masculinity—of prevailing are communicated through interested in the concept of Minimalist trends. Employing men,” and as a self-described “twinning,” or communicating unconventional materials “social sculptor,” his oeuvre between two selves (he added such as wax, polyurethane, primarily consisted of perfor- the e—“and”—between his latex, and resin, Benglis mance works, documentary first and last names in 1968 emphasized process, allowing photography, and “multiples,” to suggest this plurality). materials to dictate an a range of modestly sized and Involved early on with the artwork’s final shape and affordable artifacts related to Arte Povera movement, Boetti form. The cast-aluminum his broader practice. He em- distanced himself after 1972, work WING, 1970, on view bedded materials with deep and is now well known for his in the Room 2 installation, metaphorical meanings, often series of embroidered world exemplifies Benglis’s innova- related to his compelling, if maps made by commissioned tive “pour” technique, which implausible, autobiography: Afghan artisans who fabricat- she developed and refined in Beuys maintained that he had ed the works according to his the late 1960s. WING hangs been saved from a plane crash instructions. Boetti’s maps off the wall like a painting; in the Mongolian moun- engage differing cultures and however, the amorphous tains by Tartar tribesman aesthetics to create a unified metal extends out from the following World War II, men object; one such work, Mappa, wall into three-dimensional who healed him by wrapping 1971–1972, is on view in the space. Benglis’s work often him in fat and felt. This Room 2 installation, along defies categorization, blurring self-mythologizing contributed with the artist’s sculpture the line between traditional strongly to Beuys’s quasi- Cubo, 1968. painting and sculpture. shamanic persona in the art world, and his lasting influ- –JSh –NSC ence on the history of art. See Also: See Also: –LR Arte Povera (18) Post-Minimal art (58) Conceptual art (28–29) Process art (59) See Also: Postwar art (58) Sculpture (65) Avant-garde (19) Postwar art (58)

Beuys, Joseph

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Benglis, Lynda Beuys, Joseph Boetti, Alighiero e

Beuys, Joseph

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Bontecou, Lee Bourgeois, Louise Broodthaers, Marcel

b. 1931. American artist Lee b. 1911, d. 2010. Celebrated b. 1924, d. 1976. In 1964, Bontecou has a wide range for her singular contributions Belgian-born poet Marcel of influences, including air- to the fields of sculpture, Broodthaers declared himself planes, politics, nature, and drawing, painting, printmak- a visual artist by exhibiting a the body; her work stands at ing, installation, and writing, sculpture of unsold copies of the crossroads of abstraction French-born American artist his book Pense-Bête (Memory and figuration, the organic Louise Bourgeois’s explora- Aid) embedded in plaster—a and mechanical, and the so- tions of the human condition tongue-in-cheek gesture of cial and personal. Pushing the originate from her own lived “implanting” meaning into boundaries between sculpture experience. Psychologically, sculpture. Broodthaers’s and painting, Untitled, 1962, emotionally, and often sexual- critical inquiry into the role on view in the Room 2 instal- ly charged, Bourgeois’s works of art and art institutions lation, exemplifies these col- intermingle the abstract was a lasting concern, most lective explorations: the work and the corporeal to striking famous ly enacted in his late seems to extend from the wall effect. Louise Bourgeois: To 1960s project Musée d'Art into three-dimensional space Unravel a Torment, on view Moderne, Département des while simultaneously recoiling in the Gallery, is the first ex- Aigles (Museum of Modern into itself with three “black hibition of the artist’s work at Art, Department of Eagles)—a holes.” Viewers have drawn Glenstone and features nearly simulacrum of the traditional connections between such thirty major works from the modern art museum, but works and the 1960s cultural collection, including examples without a collection or per- and political preoccupation of her early Personages, large manent site. Over the course with the cosmos, space travel, hanging sculptures, suites of of his short career, Brood- and the race to moon. drawings and prints, textile thaers produced works distin- works, and her immersive guished by playful juxtaposi- –JSh Cells. tion of quotidian objects and subversion of language. Ovale See Also: –AN d’oeufs 1234567 (Oval of Eggs Hesse, Eva (40–41) 1234567), 1965, on view in the Benglis, Lynda (20) See Also: Room 2 installation, consists Postwar art (58) Assemblage (18) of dozens of eggshells—a pop- Sculpture (65) Installation (42) ular motif in his oeuvre—with Printmaking (59) numerals inscribed on their Sculpture (65) surfaces.

–EB

Bourgeois, Louise

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Bontecou, Lee Bourgeois, Louise Broodthaers, Marcel

–EB

Bourgeois, Louise

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Calder, Alexander Camargo, Sergio

b. 1898, d. 1976. American b. 1930, d. 1990. Associated Camargo’s Relief no. 259, artist Alexander Calder first with the Brazilian Arte Neo- 1970, is on view in the Room 2 began making work as a child, concreta movement, sculptor installation. influenced by his mother, Sergio Camargo is especially father, and grandfather—all known for his experimenta- –EB of whom were artists. Calder’s tion with sculptural reliefs. proclivity towards building ob- Extensive travel and an ex- See Also: jects led to a lifelong interest tended stay in Paris prompted Abstraction (14) in kinetics, and he acquired Camargo’s eventual fusion Arte Neoconcreta (16) a degree in mechanical engi- of Brazilian and European Clark, Lygia (26) neering before turning his full traditions; his meticulous as- Oiticica, Hélio (54) attention to art. By the late semblies of cuboid and cylin- Schendel, Mira (65) 1920s he was working as an drical forms are made of wood, artist in New York City, and terra-cotta, stone, or marble, around 1930 he began shifting and typically supported on from representational work a white monochrome base. to abstraction, prompted in These forms respond to the part by his friendship with organic interactions between artist Piet Mondrian. Today shadow and light. Camargo Calder is widely recognized believed that his materials for his mechanized artworks would speak for themselves, and for pioneering a type of once saying of his works that suspended kinetic sculp- “they are only what they know ture that Marcel Duchamp how to be”—indicating that famously dubbed “mobiles.” his abstract forms were driven Baby Flat Top, 1946, on view by a working method that in the Room 2 installation, relied heavily on intuition. showcases Calder’s unique marriage of engineering and abstraction.

–CD

See Also: Abstraction (14) Modern art (52–53) Sculpture (65) Tinguely, Jean (70) Calder, Alexander

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Calder, Alexander Camargo, Sergio

–CD

See Also: Abstraction (14) Modern art (52–53) Sculpture (65) Tinguely, Jean (70) Calder, Alexander

GS1581.indd 25 8/15/18 9:25 AM 26 Cardiff and Miller Art 27

Cardiff, Janet and Clark, Lygia Collage George Bures Miller

Janet Cardiff, b. 1957. George b. 1920, d. 1988. Lygia Clark The term collage derives Bures Miller, b. 1960. The was a pioneering Brazilian from the French word coller, Canadian-born collaborators artist who cofounded the meaning to paste or glue, and are groundbreaking artists movement known as Arte refers to the process—and end who utilize sound in their Neoconcreta. Clark worked product—of adhering paper work. Believing that sound in many media and was to a surface. Originating in has the unique ability to committed to making art for the early twentieth century, “bypass your intellect . . . [to] the everyday person rather collage techniques became go inside of you in a way that than only the elite. She was popular with avant-garde nothing else can,” the duo especially intrigued by the artists who repurposed text draws from history, memory, relationship between her art and imagery, often newspa- and dreams, incorporating and its viewers, and made pers and photographs, into music, voices, quotidian many works whose express their works. Removed from noises, and jarring sounds to purpose was for direct, tactile their original contexts, these create multisensory artworks. interaction. Espaço Modula- extracts gain new meaning, Their outdoor installation do 3, 1959, is on view in the as do the overall artworks of FOREST (for a thousand Room 2 installation. which they become a part. years . . . ), 2012, is located In the years since the term along a secluded path in a –SOw initially emerged, it has forest clearing behind the come to describe nearly any Gallery. The work imagines See Also: two-dimensional material what a forest might have Abstraction (14) incorporated within a larger heard over the course of a Arte Neoconcreta (16) work. Robert Rauschenberg’s millennium, using Ambison- Oiticica, Hélio (54) Gold Standard, 1964, on view ic technology and multiple Pape, Lygia (55) in the Room 2 installation, speakers to create a “dome” incorporates elements of of sound. FOREST creates an collage: various printed re- immersive experience, forging productions are adhered to a sound into a discrete space. folding Japanese screen.

–LR –FG

See Also: See Also: Forest bathing (103) Basquiat, Jean-Michel (19) Sound art (68) Mosaiculture (104) Time-based media (69) Postmodern art (58) Woodlands (116) Rauschenberg, Robert (60)

Cardiff, Janet and George Bures Miller

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Cardiff, Janet and Clark, Lygia Collage George Bures Miller

–LR –FG

See Also: See Also: Forest bathing (103) Basquiat, Jean-Michel (19) Sound art (68) Mosaiculture (104) Time-based media (69) Postmodern art (58) Woodlands (116) Rauschenberg, Robert (60)

Cardiff, Janet and George Bures Miller

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Collection Commission Conceptual Art

At Glenstone the “collection” When collecting contemporary Conceptual art rose to prom- refers to the totality of the art, patrons or institutions inence in the 1960s as artists museum’s acquired art- might, on occasion, invite an began using text, ready-made works, including paintings, artist to create a work that objects, performance, video, sculptures, works on paper, may then be acquired for the and other materials in ways photography, videos, and institution’s collection. An art- that emphasized art as a time-based media. Some of work conceived in this way is practice of ideas. Sol LeWitt these works are on view at known as a commission, and wrote a foundational essay in Glenstone, others are in stor- although its form may change 1967 that defines the move- age, and many are regularly during its making, typically ment succinctly: “The idea or loaned to other institutions its context is determined in concept is the most important for special exhibitions. The advance. Works commissioned aspect of the work . . . the collection is thus a dynamic with a particular setting in idea becomes a machine that entity, constantly expand- mind at Glenstone include makes the art.” The original ing and circulating. While Richard Serra’s Contour 290, exhibition of the readymade Glenstone’s collection contains 2004, and Andy Goldsworthy’s Fountain, 1917/1964, by a vast array of artistic ideas Clay Houses (Boulder- Marcel Duchamp (also now on and forms of expression in Room-Holes), 2007. In both view in the Room 2 installa- works produced over the cases, the artists sited their tion), is considered a pioneer- course of the past century, it own outdoor sculptures in ing example of this way of is anchored by a commitment consultation with architects, thinking, challenging notions to quality, and by a desire to structural engineers, and of traditional sculpture and share these artworks, free of landscape designers. In the the role of artistic creativity charge, with visitors. case of Brice Marden’s mul- itself. tipanel painting Moss Sutra –GM and MBT with the Seasons, 2010–2015, –MLe on view in the Pavilions, the See Also: process unfolded in reverse: See Also: Avant-garde (19) the size, scale, and lighting Cardiff, Janet and George Commission (28) scheme of the room were fixed Bures Miller (26–27) Contemporary art (30) only after Marden decided on Kruger, Barbara (46) Modern art (52–53) the proportions and dimen- LeWitt, Sol (48) Postwar art (58) sions of his canvases. Weiner, Lawrence (72–73)

–EWR

See Also: Goldsworthy, Andy (36–37) Marden, Brice (48) Conceptual art

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Collection Commission Conceptual Art

–EWR

See Also: Goldsworthy, Andy (36–37) Marden, Brice (48) Conceptual art

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Conservation Contemporary Art

Conservation is practiced –SO Broad, ambiguous, and nearly across many disciplines, inc- impossible to categorize, the luding art and architecture as See Also: term contemporary art usually well as landscape. It can be Climate control (76) refers to art that is made in the described comprehensively as Collection (28) present day. Art historically, a practice that includes care- Drawing (32–33) contemporary art can also ful examination, development Painting (55) be used to describe works of acceptable treatment, and Reforesetation (105) made beginning in the latter implementation of proper Sculpture (65) part of the twentieth century, preventive care with extensive Shade (83) following modernism, when documentation in order to Stream restoration (108) narratives became less linear contribute to the preserva- Sustainability (71) and developed a sharper focus tion of material culture. At on conceptualization and Glenstone, conservation is process. This designation often an ongoing practice with a dovetails with “postwar art” diverse range of activities as a descriptor for the artistic that might include anything movements that brewed after from inspections of dust on World War II; the earliest ex- the yarn of a Fred Sandback emplars of contemporary art artwork to symposia on paint generally have their origins composition used in outdoor in the 1960s (such as Pop art, sculpture to researching the Minimalism, and Conceptual- ideal chemical balance of ism), while “postwar art” may water used for cleaning and also encompass movements irrigation. Contemporary art dating from the 1940s, such as conservation has expanded Abstract Expressionism. To- beyond the preservation of day, contemporary art reflects historic monuments to include an unprecedented plurality working in conjunction with of voices, issues, politics, the artist while they are identities, and aesthetics—the developing or installing their art of our time. work. George L. Stout, a pioneering figure in the modern –FG field of conservation, described the collaboration of art See Also: historians, scientists, and con- Collection (28) servators as “the three-legged Exhibition (34) stool” that supports contemporary museum conservation. Conservation

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Conservation Contemporary Art

GS1581.indd 31 8/15/18 9:25 AM 32 de Kooning, Willem Art 33

de Kooning, Willem Drawing Duchamp, Marcel

b. 1904, d. 1997. Pioneering From crayon scribbles to b. 1887, d. 1968. It is difficult artist Willem de Kooning was scientific renderings of nature, to overstate the impact of born in Rotterdam and came the act of drawing embraces French-born artist, writer, to the United States in 1926 countless materials and meth- critic, and thinker Marcel as a stowaway on a ship. He ods. Traditionally defined Duchamp on the history eventually moved to New by the inscription of lines on of twentieth- and twen- York City and remained on a surface, most commonly ty-first-century art. While the East Coast throughout graphite on paper, drawing his list of artistic accomplish- his life, becoming an integral was historically used—at least ments is long and varied, figure in the now-storied art within the most recent mil- he is especially known for scene of the day. Long revered lennium—primarily as a pre- a particular gesture first as a founder of Abstract paratory vehicle for paintings performed in 1914, when he Expressionism, de Kooning and architectural designs. took a mass-produced bottle initially trained as a com- However, many artists have rack and declared it art. This mercial artist, working as a since expanded the practice to seemingly simple act—pro- painter for the Works Project encompass a myriad of tools posing that a shift in context Administration Federal Art and processes. Various works was enough to take something Project in the 1930s. His per- on view at Glenstone might be ordinary and transform it into sonal work boldly hybridizes considered to utilize drawing, art—broke with centuries of abstraction and figuration; he such as the pencil grid lines tradition and set the stage is especially well-known for peeking through the surface for many of the significant his provocative depictions of of Agnes Martin’s Pilgrimage, artistic innovations of the past women and a dynamic use of 1966; or the evocative inked century. Two of Duchamp’s color. An early and exemplary figuration of Louise Bour- most iconic “readymades,” as work, January 1st, 1956, is on geois’s Ste. Sébastienne, 1998. he called them, are on view in view in the Room 2 installa- the Room 2 installation— tion. –CG Roue de Bicyclette, 1913/1964, and Fountain, 1917/1964, –RA See Also: which caused a scandal when Bourgeois, Louise (22–23) Duchamp submitted it to the See Also: Haring, Keith (39) Salon des Indépendants in Abstract Expressionism Martin, Agnes (50–51) Paris in 1917. (14–15) Schendel, Mira (65) Avant-garde (19) –PI Painting (55) See Also: Conceptual art (28–29) Modern art (52–53) Readymade (62–63) Drawing

GS1581.indd 32 8/15/18 9:25 AM 32 de Kooning, Willem Art 33

de Kooning, Willem Drawing Duchamp, Marcel

GS1581.indd 33 8/15/18 9:25 AM 35 We believe that the best way to experience art, experience to archi- that the best way believe We and with minimal inter- is in person, and nature tecture, designed intentionally are Visits Glenstone to vention. no digital are be open-ended and analog: there to The absence here. screens or touch guides, apps, audio your generate to you texts encourages of didactic wall encounter. you the works about interpretations own and of engagement levels different seek visitors Since with hor- uniforms (in gray guides varyinterests widely, the campus stationed throughout izontal bar pins) are ideas, and offer general discuss questions, answer to this book as consult also can as needed. You assistance on all things Glenstone. an index –EWR and MPR Direct Engagement 8/15/18 9:25 AM Fluxus Lithuanian- Founded by American artist George Maciunas in the 1960s, the an Fluxus movement united international and interdisciplinary group of avant-garde artists, composers, designers, architects, mathematicians, philosophers, and poets. Working against the perceived elitism of “high art,” the group was devoted to a total and integration of art and life, focused on creating multidisci- from plinary works composed expe-everyday materials and riences. These works often include events that ask viewers to become participants in the process of creating the piece. –AN See Also: Avant-garde (19) - Art American b. 1933, d. 1996. using artist Dan Flavin began his most iconic medium—flu orescent tubes—in the early orescent tubes—in the early , 1960s. a primary picture 2 1964, on view in the Room installation, uses five fixtures and lamps to cast the primary colors of red, blue, and yellow. The off-the-shelf tubes are arranged in a simple rectan- the gular shape, mimicking composition of a traditional painting. As manufacturers older phase out production of favor lighting technologies in of LEDs, conservators of Flavin’s work have begun stockpiling the tubes for future installations. Today the work serves as a demon- stration of Flavin’s singular achievement in generating new ways of viewing light, space, and art. –TB See Also: Installation (42) Light (82–83) Minimal art (50) Sculpture (65) Roni The Louise No Substitute Peter Fischli (2013–2014), At the core of Glenstone’s At the core of is a commitment to sion mis organizing exhibitions that nificant historical chart sig shifts in the perception and of understanding of the art our time. Selected exclusively from Glenstone’s collection, temporary exhibitions rotate and annually in the Gallery Past Room 2 in the Pavilions. exhibitions include Horn (2017–2018). Bourgeois: To Unravel a Torment is currently on view in the Gallery. –AN See Also: Avant-garde (19) Contemporary art (30) Postwar art (58) Exhibition Dan Flavin, Inaugural Exhibition (2006– 2009), If we could imagine (2009–2011), Fred Sandback: Light, Space, Facts (2015–2016), and (2011–2013), David Weiss 34 Exhibition GS1581.indd 34 35 8/15/18 9:25 AM We believe that the best way to experience art, experience to archi- that the best way believe We and with minimal inter- is in person, and nature tecture, designed intentionally are Visits Glenstone to vention. no digital are be open-ended and analog: there to The absence here. screens or touch guides, apps, audio your generate to you texts encourages of didactic wall encounter. you the works about interpretations own and of engagement levels different seek visitors Since with hor- uniforms (in gray guides varyinterests widely, the campus stationed throughout izontal bar pins) are ideas, and offer general discuss questions, answer to this book as consult also can as needed. You assistance on all things Glenstone. an index –EWR and MPR Direct Engagement GS1581.indd 35 Founded by Lithuanian- Founded by American artist George Maciunas in the 1960s, the an Fluxus movement united international and interdisciplinary group of avant-garde artists, composers, designers, architects, mathematicians, philosophers, and poets. Working against the perceived elitism of “high art,” the group was devoted to a total and integration of art and life, focused on creating multidisci- from plinary works composed expe-everyday materials and riences. These works often include events that ask viewers to become participants in the process of creating the piece. –AN See Also: Avant-garde (19) Fluxus - b. 1933, d. 1996. American b. 1933, d. 1996. using artist Dan Flavin began his most iconic medium—flu orescent tubes—in the early , 1960s. a primary picture 2 1964, on view in the Room installation, uses five fixtures and lamps to cast the primary colors of red, blue, and yellow. The off-the-shelf tubes are arranged in a simple rectan- the gular shape, mimicking composition of a traditional painting. As manufacturers older phase out production of favor lighting technologies in of LEDs, conservators of Flavin’s work have begun stockpiling the tubes for future installations. Today the work serves as a demon- stration of Flavin’s singular achievement in generating new ways of viewing light, space, and art. –TB See Also: Installation (42) Light (82–83) Minimal art (50) Sculpture (65) Art Roni The Louise No Substitute Peter Fischli (2013–2014), Bourgeois: To Unravel a Torment is currently on view in the Gallery. –AN See Also: Avant-garde (19) Contemporary art (30) Postwar art (58) Exhibition Dan Flavin, Glenstone’s At the core of is a commitment to sion mis organizing exhibitions that nificant historical chart sig shifts in the perception and of understanding of the art our time. Selected exclusively from Glenstone’s collection, temporary exhibitions rotate and annually in the Gallery Past Room 2 in the Pavilions. exhibitions include Inaugural Exhibition (2006– 2009), If we could imagine (2009–2011), (2011–2013), David Weiss Fred Sandback: Light, Space, Facts (2015–2016), and Horn (2017–2018). 34 Exhibition 36 Giacometti, Alberto Art 37

Giacometti, Alberto Gober, Robert Goldsworthy, Andy

b. 1901, d. 1966. Swiss artist b. 1954. American artist Rob- b. 1956. British sculptor Alberto Giacometti is best ert Gober makes sculptural Andy Goldsworthy sometimes known for hyperelongated facsimiles of everyday objects creates art so ephemeral sculptures of the human that conjure complex associ- it lasts mere hours, using form—the male figures generations, from the poetic to the materials such as sheets of ally in motion, the female fig- political. Untitled, 1992, locat- ice, fallen leaves, or twigs ures upright and still. Many ed in the Pavilions, features a balanced precariously atop have described these works dark corridor-like space that one another. Other works are as physical embodiments of a surrounds an interior room, more durable, like Glenstone’s postwar existential crisis, yet in which a 360-degree painted outdoor sculpture Clay Houses Giacometti was himself espe- mural of a forest provides (Boulder-Room-Holes), 2007, cially interested in the idea of perception. He spoke of trying a backdrop for a series of located in the woodlands to capture an interpretation wall-mounted sinks, whose clearing behind the Gallery of how things appear to us— taps are flowing with a con- and near the Greenbriar rather than how they actually stant stream of water. Gober’s Branch stream. Built using are—and his figures can seem replicas of boxes of rat bait; locally quarried Carderock as though compressed by the bound stacks of newspapers, stone, this three-part work space around them, or as if al- some featuring a black-and- also utilizes clay excavated ways at a distance, impossible white image of the artist on the property. Goldsworthy’s to fully grasp. Man Pointing, dressed in a wedding gown; site-specific works are 1947, on view in the Room 2 and barred prison windows, frequently in dialogue with— installation, was made during which reveal a gentle blue sky and often nearly camouflaged a single frenzied nighttime beyond, round out the assort- into—their environments, and work session and first shown ment of ambiguous symbols encourage a sense of discovery in a 1948 exhibition at the in this interior habitat. The and surprise for the viewer. Pierre Matisse Gallery in New artist's outdoor sculpture Using humble materials to York. Two Partially Buried Sinks, engage with themes such as 1986–1987, can also be seen place, nature, history, mem- –EB nestled among the trees off ory, and time, Goldsworthy’s of the Glenstone Boardwalk, sculptures can feel as if they See Also: adjacent to the Lily Pond. are delivering secrets from Modern art (52–53) nature. Postwar art (58) Sculpture (65) –EM –MC See Also: Pond (104) See Also: Sculpture (65) Carderock (86) Soil (105–106) Site-specific (66) Woodlands (116) Soil (105–106) Goldsworthy, Andy

GS1581.indd 36 8/15/18 9:25 AM 36 Giacometti, Alberto Art 37

Giacometti, Alberto Gober, Robert Goldsworthy, Andy

b. 1901, d. 1966. Swiss artist b. 1954. American artist Rob- b. 1956. British sculptor Alberto Giacometti is best ert Gober makes sculptural Andy Goldsworthy sometimes known for hyperelongated facsimiles of everyday objects creates art so ephemeral sculptures of the human that conjure complex associ- it lasts mere hours, using form—the male figures generations, from the poetic to the materials such as sheets of ally in motion, the female fig- political. Untitled, 1992, locat- ice, fallen leaves, or twigs ures upright and still. Many ed in the Pavilions, features a balanced precariously atop have described these works dark corridor-like space that one another. Other works are as physical embodiments of a surrounds an interior room, more durable, like Glenstone’s postwar existential crisis, yet in which a 360-degree painted outdoor sculpture Clay Houses Giacometti was himself espe- mural of a forest provides (Boulder-Room-Holes), 2007, cially interested in the idea of a backdrop for a series of perception. He spoke of trying located in the woodlands to capture an interpretation wall-mounted sinks, whose clearing behind the Gallery of how things appear to us— taps are flowing with a con- and near the Greenbriar rather than how they actually stant stream of water. Gober’s Branch stream. Built using are—and his figures can seem replicas of boxes of rat bait; locally quarried Carderock as though compressed by the bound stacks of newspapers, stone, this three-part work space around them, or as if al- some featuring a black-and- also utilizes clay excavated ways at a distance, impossible white image of the artist on the property. Goldsworthy’s to fully grasp. Man Pointing, dressed in a wedding gown; site-specific works are 1947, on view in the Room 2 and barred prison windows, frequently in dialogue with— installation, was made during which reveal a gentle blue sky and often nearly camouflaged a single frenzied nighttime beyond, round out the assort- into—their environments, and work session and first shown ment of ambiguous symbols encourage a sense of discovery in a 1948 exhibition at the in this interior habitat. The and surprise for the viewer. Pierre Matisse Gallery in New artist's outdoor sculpture Using humble materials to York. Two Partially Buried Sinks, engage with themes such as 1986–1987, can also be seen place, nature, history, mem- –EB nestled among the trees off ory, and time, Goldsworthy’s of the Glenstone Boardwalk, sculptures can feel as if they See Also: adjacent to the Lily Pond. are delivering secrets from Modern art (52–53) nature. Postwar art (58) Sculpture (65) –EM –MC See Also: Pond (104) See Also: Sculpture (65) Carderock (86) Soil (105–106) Site-specific (66) Woodlands (116) Soil (105–106) Goldsworthy, Andy

GS1581.indd 37 8/15/18 9:25 AM 38 Gonzalez-Torres, Felix Art Art Haring, Keith 39

Gonzalez-Torres, Felix Gorky, Arshile Gutai Hammons, David Haring, Keith

b. 1957. d. 1996. Cuban- See Also: b. 1904, d. 1948. Born as Visionary Japanese artist Jiro b. 1943. American artist b. 1958, d. 1990. Influenced American artist Felix Conceptual art (28–29) Vostanik Manoug Adoian, Yoshihara founded the Gutai David Hammons is best by his cartoonist father and Gonzalez-Torres challenged Gallery, the (78) Arshile Gorky fled the Arme- art collective in 1954 and en- known for reframing highly 1970s popular culture, Ameri- notions of audience engage- Sculpture (65) nian genocide in 1915 and couraged its members to cre- charged political and cultural can artist Keith Haring began ment, believing that a view- Stone (86–88) arrived in the United States ate artworks unlike any that symbols to address the expe- making art at a young age. er’s interpretation completed in 1920. Reinventing himself they had seen or experienced riences of African American Moving from Pennsylvania to his art. He also highlighted as an artist, Gorky took a before. The resulting works citizens and communities, New York in the 1980s proved institutional responsibility by number of painting lessons in often combined painting, per- often with pointed humor. incredibly influential to his leaving certain elements of his Boston and New York, and his formance, and interactive in- Hammons employs differ- work; soon after he arrived works’ fabrication open- notable early works include stallation environments. The ent mediums and draws in the city Haring was living ended, to be determined by painted interpretations of a word gutai, which translates from multiple influences, as and working alongside fellow the exhibitor. In the case childhood photograph pictur- as “concreteness,” embodies evidenced in How Ya Like graffiti artists Jean-Michel of the outdoor sculpture ing the artist and his mother. one of the movement’s central Me Now?, 1988, on view in Basquiat and Kenny Scharf. "Untitled", 1992–1995, on Throughout the 1940s, Gorky tenets: to physically engage the Room 2 installation. This He developed a highly dis- view outside the Gallery, found inspiration in pastoral with novel materials in inno- large-scale portrait—paint- tinctive style of cartoon-like Gonzalez-Torres did not Hamilton, Virginia, where he vative ways. Indeed, in the ed on sheets of tin—was icons, including dancing specify what material should interpreted his surroundings Gutai manifesto, Yoshihara originally commissioned by figures, an infant emitting be used. When the work was in a unique visual language. stated, “We have decided to the Washington Project for rays of light (his “radiant realized posthumously in Drawing, 1943, on view in pursue enthusiastically the the Arts, and depicts the child”), barking dogs, and 2007, Carrara marble was the Room 2 installation, possibilities of pure creativity. Reverend Jesse Jackson as a hearts. This singular visual chosen because of its origin exemplifies how his emotive We believe that by merging blond-haired, blue-eyed man. language can be seen in his in Italy, where the piece was impressions are captured human qualities and material Viewers took issue with this work Untitled, 10/22/1988, on first shown, uniting a materi- through vibrant fields of color; properties, we can concretely portrayal, and How Ya Like view in the Room 2 installa- al more commonly associated lines dance across the canvas, comprehend abstract space.” Me Now? was vandalized tion. Haring also used art as with Classical statuary with evoking the energy of an ani- Artists associated with this when first installed publicly a tool for activism, producing the artist’s Minimalist vocab- mated, verdant landscape. movement include Akira in downtown Washington, over fifty public artworks ulary. The twin round pools, Kanayama, Sadamasa DC. Hammons subsequently both in New York and abroad, each holding three hundred –EM Motonaga, Kazuo Shiraga, decided to absorb the vandals’ and utilizing his increasing gallons of water and weighing Shozo Shimamoto, Atsuko markings as part of the fame and influence to support over seven tons, form a See Also: Tanaka, and Toshio Yoshida. finished work, reframing the humanitarian causes. Prior figure eight, an often-repeat- Abstract Expressionism installation to include a stan- to his death at age thirty-one, ed Gonzalez-Torres motif (14–15) –AN chion of sledgehammers (the Haring established the Keith symbolizing togetherness and de Kooning, Willem (32) tool used to strike the piece) Haring Foundation, which harmony. Painting (55) See Also: and an American flag as part continues to support AIDs- Pollock, Jackson (56–57) Avant-garde (19) of its display. related educational initia- –JSh Postwar art (58) Exhibition (34) tives. –TB –CD

GS1581.indd 38 8/15/18 9:25 AM 38 Gonzalez-Torres, Felix Art Art Haring, Keith 39

Gonzalez-Torres, Felix Gorky, Arshile Gutai Hammons, David Haring, Keith

GS1581.indd 39 8/15/18 9:25 AM 40 Heizer, Michael Art 41

Heizer, Michael Hesse, Eva Horn, Roni

b. 1944. American artist b. 1936, d. 1970. The Ger- b. 1955. For more than forty Michael Heizer uses earth man-born, New York–based years, American artist Roni as a medium to challenge artist Eva Hesse remains one Horn has been creating a the tradition of art as a of the most significant, sin- diverse oeuvre that spans salable object. Influenced by gular, and influential artists drawing, sculpture, photogra- the ceremonial structures of the postwar period. Often phy, installation, and books. of ancient civilizations, his associated with her post- Exploring wide-ranging top- often-monumental work Minimalist—and predomi- ics, including human identity, balances colossal scale and nantly male—peers, Hesse ecology, landscape, weather, conceptual rigor, and made employed a variety of sculp- and language, Horn’s work him a pioneer of Land art in tural materials—resin, fiber- intermingles material and the late 1960s. Two of Heizer’s glass, rope, rubber tubing—to context, complicating relation- weathering-steel sculptures, create organic forms charged ships between object, subject, on view in and outside the with psychological and bodily and viewer in the process. On Pavilions, formally employ presence. Three works by the view in the Passage in the negative space and unseen artist are on view in the Room Pavilions is Water Double, v. force. In Compression Line, 2 installation: Several, 1965; 3, 2013–2015, two of the 1968/2016, tons of carefully Constant, 1967; and Sans II, largest solid cast-glass compacted soil push against 1968. cylinders that the artist has a large below-ground concave created. One black and one metal structure, forcing the –AS translucent, these forms two sides to meet at a common conceptually reflect on the midpoint and creating a See Also: dualities that Horn often recessed geometric hollow in Abstraction (14) explores in her work, while the landscape. In contrast, Assemblage (18) also literally incorporating Collapse, 1967/2016, seems Post-Minimal art (58) the surrounding environment almost haphazardly arranged: Sculpture (65) onto their surfaces. massive metal beams—up to forty-two feet long—are –AN strewn within a sunken steel cube, like discarded construc- See Also: tion materials. Glass (80) Pavilions, the (83) –SE Post-Minimal art (58) Sculpture (65) See Also: Argillite (86) Pavilions, the (83) Sculpture (65) Hesse, Eva

GS1581.indd 40 8/15/18 9:25 AM 40 Heizer, Michael Art 41

Heizer, Michael Hesse, Eva Horn, Roni

GS1581.indd 41 8/15/18 9:26 AM 43 Integration indicates the degree to which people, which people, to the degree indicates Integration understood are and disciplines things, ideas, systems, pres- mission is to our Glenstone At as interrelated. a seamlessly as and landscape ent art, architecture, aimed at heighten- holistic experience, integrated, meaningful and—ideally—creating ing the senses visitors. our and lasting memories for encounters artworks outdoor embody this interdisciplinary Several , 2000 Split-Rocker Koons’s Jeff including approach, horticulture, (art, architecture, engineering, landscape (art, ge- , 1973/2005 Smug Smith’s Tony mosaiculture); Andy architecture); landscape paint chemistry, ometry, , Houses (Boulder-Room-Holes) Clay Goldsworthy’s and architecture); landscape (art,2007 architecture, (for FOREST Miller’s Bures and George Janet Cardiff . . .), 2012 (art, design, sound a thousand years music, architecture). landscape –EWR and MPR Integration 8/15/18 9:26 AM Untitled, Judd, Donald Judd, American b. 1928, d. 1994. sculptor Donald Judd remains one of the most influential figures in twentieth-century art, and is often associated as with the movement known Minimalism (a categorization about which Judd was rather 1965 reluctant). In a seminal essay titled “Specific Objects,” space Judd writes that “actual is intrinsically more powerful on a and specific than paint flat surface,” and he developed works intended to exist beyond the strict designa- tions of painting, sculpture, and architecture. 1963, on view in the Room 2 installation, is an important early piece from a time when Judd was first experimenting for which with the innovations he would become known. Seemingly machine-made, the object is painted but does not hang from a wall, has mass but is not on a pedestal. It sits on the floor almost as a provocation, as though asking: Can this be art? –AR See Also: Minimal art (50) Sculpture (65) - Flag on , 1958, was Art bility of being reduced to set bility of being reduced to meanings or interpretations. Ex- Influenced by Abstract pressionism, the Duchampian Pop ethos, neo-Dadaism, and for art, Johns is best known early works that reimagine accessible everyday symbols in order to reassess their and, value: targets, numerals, perhaps most notably, the American flag. These works are now considered among the most influential within the history of postwar art, and have inspired numerous subsequent movements and trends. The seminal an Orange Field, II first displayed at Glenstone in the 2006 Inaugural Exhibition and is now on view in Room 2. –LL See Also: Painting (55) Postwar art (58) Rauschenberg, Robert (60) b. 1930. American painter, b. 1930. American sculptor, and printmaker Jasper Johns creates works that, despite being centered around identifiable cultural signifiers, reject the possi Johns, Jasper Johns, Untitled, 1992, by 42 Installation is a term with Installation is a term with multiple meanings in the to context of art. It can refer art- the work of preparing an work for exhibition, a process of that can involve a range specialists, including curators, registrars, tors, conserva preparators, and art handlers. artwork i.e., product, final The may also be considered in situ, an installation, as with Room 2 in the Pavilions, which a includes iconic works from broad spectrum of twenti- such eth-century movements, as Abstract Expressionism, Gutai, Brazilian modernism, Minimalism, and beyond. The term can also describe a type of artwork: the immersive work Installation Robert Gober on view in the Pavilions, can be thought of as installation art, in which a work’s disparate elements and objects are unified within a carefully considered environment that has been developed as an intentional part of the work’s overall concept and display. –AR and SO GS1581.indd 42 43 8/15/18 9:26 AM Integration indicates the degree to which people, which people, to the degree indicates Integration understood are and disciplines things, ideas, systems, pres- mission is to our Glenstone At as interrelated. a seamlessly as and landscape ent art, architecture, aimed at heighten- holistic experience, integrated, meaningful and—ideally—creating ing the senses visitors. our and lasting memories for encounters artworks outdoor embody this interdisciplinary Several , 2000 Split-Rocker Koons’s Jeff including approach, horticulture, (art, architecture, engineering, landscape (art, ge- , 1973/2005 Smug Smith’s Tony mosaiculture); Andy architecture); landscape paint chemistry, ometry, , Houses (Boulder-Room-Holes) Clay Goldsworthy’s and architecture); landscape (art,2007 architecture, (for FOREST Miller’s Bures and George Janet Cardiff . . .), 2012 (art, design, sound a thousand years music, architecture). landscape –EWR and MPR Integration GS1581.indd 43 Untitled, b. 1928, d. 1994. American b. 1928, d. 1994. sculptor Donald Judd remains one of the most influential figures in twentieth-century art, and is often associated as with the movement known Minimalism (a categorization about which Judd was rather 1965 reluctant). In a seminal essay titled “Specific Objects,” space Judd writes that “actual is intrinsically more powerful on a and specific than paint flat surface,” and he developed works intended to exist beyond the strict designa- tions of painting, sculpture, and architecture. 1963, on view in the Room 2 installation, is an important early piece from a time when Judd was first experimenting for which with the innovations he would become known. Seemingly machine-made, the object is painted but does not hang from a wall, has mass but is not on a pedestal. It sits on the floor almost as a provocation, as though asking: Can this be art? –AR See Also: Minimal art (50) Sculpture (65) Judd, Donald Judd, - Flag on , 1958, was Art Johns, Jasper Johns, b. 1930. American painter, b. 1930. American sculptor, and printmaker Jasper Johns creates works that, despite being centered around identifiable cultural signifiers, reject the possi set bility of being reduced to meanings or interpretations. Ex- Influenced by Abstract pressionism, the Duchampian Pop ethos, neo-Dadaism, and for art, Johns is best known early works that reimagine accessible everyday symbols in order to reassess their and, value: targets, numerals, perhaps most notably, the American flag. These works are now considered among the most influential within the history of postwar art, and have inspired numerous subsequent movements and trends. The seminal an Orange Field, II first displayed at Glenstone in the 2006 Inaugural Exhibition and is now on view in Room 2. –LL See Also: Painting (55) Postwar art (58) Rauschenberg, Robert (60) Untitled, 1992, by 42 Installation Installation Installation is a term with multiple meanings in the to context of art. It can refer art- the work of preparing an work for exhibition, a process of that can involve a range specialists, including curators, registrars, tors, conserva preparators, and art handlers. artwork i.e., product, final The may also be considered in situ, an installation, as with Room 2 in the Pavilions, which a includes iconic works from broad spectrum of twenti- such eth-century movements, as Abstract Expressionism, Gutai, Brazilian modernism, Minimalism, and beyond. The term can also describe a type of artwork: the immersive work Robert Gober on view in the Pavilions, can be thought of as installation art, in which a work’s disparate elements and objects are unified within a carefully considered environment that has been developed as an intentional part of the work’s overall concept and display. –AR and SO 44 Kanayama, Akira Art Art Kline, Franz 45

Kanayama, Akira Kawara, On Kelly, Ellsworth Kippenberger, Martin Klein, Yves Kline, Franz

b. 1924, d. 2006. Avant- 29,771 days. Japanese-born b. 1923, d. 2015. American b. 1953, d. 1997. German art- b. 1928, d. 1962. Yves Klein b. 1910, d. 1962. Though garde Japanese painter Akira artist On Kawara’s work artist Ellsworth Kelly worked ist Martin Kippenberger was was a French artist associated American painter Franz Kline Kanayama was a member deals with such concepts as in a range of media, including a prolific and provocative art with the Nouveau Réalisme trained as an illustrator and of the Japanese postwar consciousness, arbitrariness, photography, painting, and world presence. Kippenberger movement whose works produced representational movement known as Gutai, and human experience, among sculpture. At forty-five feet was eclectic in both his inspi- anticipated such major works early on in his career, a community of artists who others. The Today series, also high, the commissioned rations—which were literary, twentieth-century artistic he is best known for his large radically rethought ways of known as the Date Paintings, sculpture Untitled, 2005, popular, and persona—and movements as performance black-and-white abstract “ac- making art. Like Jackson are the artist’s best-known situated directly across from his output, which encom- art, Conceptualism, Minimal- tion” paintings. Like his fellow Pollock, whose drip paintings works; each Date Painting the Gallery Pond, remains passed sculpture, painting, ism, and institutional critique. Abstract Expressionists, Kline first emerged a decade earlier, depicts the month, day, and one of Kelly’s most impos- drawing, photographs, and Working across a range of employed bold, energetic and whose works Gutai artists year in which the painting ing works. An artist deeply prints, among many other media, Klein used color, brushstrokes and often used likely saw in reproduction, was completed in white paint engaged with spatial relations forms. Lively and often outra- particularly a trademark ordinary house paint, though Kanayama was especially against a monochromatic and shadows, Kelly carefully geous, Kippenberger’s persona hue of ultramarine known as Untitled, 1957, on view in the committed to experiment- background. Moon Landing, considered the form, material, matched the tone of his work, “International Klein Blue” Room 2 installation, employs ing with process. He is well 1969, on view in the Pavilions, and placement of this work and he welcomed criticism (IKB), to manifest his notion oil on canvas. Untitled is known for a method that records three key dates of relative to the surrounding and controversy as further of “immaterial sensibility,” a deceiving in its appearance of made use of a remote-con- the Apollo 11 space mission: landscape and architecture, fuel to his artistic identity and powerful energy he believed spontaneity; starting with a trolled toy car, to which he the day the shuttle took off and studied the path of the production. Kippenberger’s to be present in his work. His primed canvas and alternat- would attach a can of paint from earth, the day it landed sun throughout the day and sculptural self-portrait Mar- striking composition Untitled ing between black and white, and then drive across the can- on the moon, and the day its resulting reflection pat- tin, ab in die Ecke und schäm Blue Sponge Relief (RE 21), Kline mixed the paint directly vas. Work, 1959, on view in Neil Armstrong took his first terns. The sculpture’s matte dich (Martin, into the Corner, 1960, is on view in the Room 2 on the surface in a purpose- the Room 2 installation, was steps on the moon’s surface. finish is a result of bead-blast- You Should Be Ashamed of installation. fully uneven application. The made using this technique. For Kawara, making a Date ing the stainless-steel surface, Yourself), 1989/1990, was result is a dynamic blend of Whereas Pollock’s practice Painting was an act of medi- which appears to change color made as a tongue-in-cheek –AN scumbling and impasto, gloss emphasized personal expres- tation, a reliable practice in a throughout the day and sea- response to his critics, and passages and matte ones. The sion, Kanayama’s tactics world filled with uncertainty. sons, consistent with Kelly’s is on view in the Room 2 See Also: thick, textured black brush- remove such implications by Other series, such as I Read, long-term interest in nature, installation. Abstraction (14) strokes almost vibrate with creating a painting via purely I Met, I Went, I Got Up, and I light, and color. Arman (16) energy; in contrast, the white mechanical means. Am Still Alive, also use objec- –EG Collage (26) paint appears calmly placed tive measures to record var- –SOw Nouveau Réalisme (54) around and within the fields –MLe ious quantities in Kawara’s See Also: Painting (55) of black. daily life, and are foundation- See Also: Polke, Sigmar (56) See Also: al for much Conceptual art Abstraction (14) Postwar art (58) –FG Avant-garde (19) that would follow. Sculpture (65) Sculpture (65) Gutai (39) Site-specific (66) See Also: Painting (55) –MLe Stainless steel (86) Abstract Expressionism Process art (59) (14–15) See Also: Painting (55) Conceptual art (28–29)

GS1581.indd 44 8/15/18 9:26 AM 44 Kanayama, Akira Art Art Kline, Franz 45

Kanayama, Akira Kawara, On Kelly, Ellsworth Kippenberger, Martin Klein, Yves Kline, Franz

GS1581.indd 45 8/15/18 9:26 AM 46 Koons, Jeff Art 47

Koons, Jeff Kruger, Barbara Kusama, Yayoi

b. 1955. Jeff Koons is one of b. 1945. American artist b. 1929. Artist Yayoi Kusama America’s most recognizable, Barbara Kruger works, in her moved from Japan to New prolific, and polarizing artists. own words, "with pictures and York in the late 1950s, quickly Known for paintings and words." Kruger’s methodol- becoming one of the most dar- sculptures that depict pop- ogy merges techniques from ing participants in the local cultural touchstones, Koons commercial and fine art, avant-garde art scene. Her draws on a deep understand- combining a signature bold Accumulations, a series of soft ing of art historical trends and typeface—reminiscent of sculptures begun in the early precedents. His oeuvre has advertising headlines—with 1960s, covered various furni- been interpreted variously as popular images to examine ture items with stuffed phallic trailblazing or as kitsch, and power and gender stereo- forms, and were seen by the Koons is deeply engaged in types. Kruger has an abiding artist as a way to concretize issues surrounding commod- interest in critiquing cultural and subjugate her anxieties ification and consumerism. and political conventions, and about sex. Artmaking has Koon’s outdoor sculpture frequently creates a sense of been a lifelong mode of inqui- Split-Rocker, 2000, visible tension between the literal ry and catharsis for Kusama, at the Pavilions entrance, and figurative by superim- who notes that hallucinations consists of thousands of living posing text onto seemingly have inspired many of her plants and flowers, replanted unrelated appropriated now-iconic motifs—from at Glenstone once every year. imagery. Untitled (We won't polka dots to pumpkins to A topiary with conceptual play nature to your culture), her immersive infinity-mirror roots in neo-Impressionist 1983, on view in the Room 2 installations. The white- pointillism, Split-Rocker ex- installation, exemplifies this painted Accumulation on emplifies Koons’s affinity for direct, impactful style. Cabinet No. 1, 1963, on view color, recognizable form, and in the Room 2 installation, is the big and bright. –CD covered in phallic protrusions stuck on and around the –NSC See Also: shelves of a cabinet stacked Appropriation art (16–17) high with cups and glasses See Also: Conceptual art (28–29) and “fenced in” by chicken Mosaiculture (104) Photography (55) wire. New Guinea impatiens Pop art (56) (Impatiens hawkeri) (102) –KV Sculpture (65) Stainless steel (86) See Also: Assemblage (18) Avant-garde (19)

Kusama, Yayoi

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Koons, Jeff Kruger, Barbara Kusama, Yayoi

Kusama, Yayoi

GS1581.indd 47 8/15/18 9:26 AM 48 LeWitt, Sol Art 49 Design LeWitt, Sol Marden, Brice

b. 1928, d. 2007. American As he continued to work, Le- b. 1938. Long captivated by artist Sol LeWitt’s interest Witt further “dematerialized” color and its ability to forge in analyzing pure geometric his sculptures, creating in- emotional connections, Amer- forms often aligns him with structions for his drawings to ican painter Brice Marden the Minimalist movement, be executed by others directly rose to prominence following a while his pioneering theories on gallery walls. series of early monochromatic of art also place him at the panel paintings rendered forefront of the movement –EM in oil and beeswax. Repeat- that became known as ed trips to Greece led to a Conceptualism. Working with See Also: lifelong interest in capturing simple shapes like squares, Conceptual art (28–29) light, and a curiosity about circles, and triangles, LeWitt Hesse, Eva (40–41) Chinese calligraphy and phi- examined the very nature of Minimal art (50) losophy prompted his inquiry art, shifting the emphasis into the practice of energetic from execution to idea: his mark-making. Marden has famous dictum that “the been described as a “romantic Every detail of Glenstone embodies our design ethos, idea becomes the machine Minimalist,” and is expres- which is in large part inspired by architect Ludwig that makes the art” quickly sive in his paint application, Mies van der Rohe’s dictum “less is more.” Visitors to became artistic gospel (both often leaving traces of his revered and renounced) after hand embedded in the work. Glenstone may notice that each building is constructed he wrote the statement in The multipanel Moss Sutra out of only a few materials: teak, granite, and zinc for his essay “Paragraphs on with the Seasons, 2010–2015, the Gallery, and maple, concrete, and stainless steel Conceptual Art,” published in commissioned by Glenstone for the Pavilions. We have paid special attention to Artforum in 1967. LeWitt first and on view in the Pavilions, the integrity of the materials, so that surfaces read as gained attention in the 1960s is the result of five years of authentic yet refined. The same principles guide the for sculptures built accord- work, and fuses essential ing to simple mathematical elements of Marden’s practice: design of the amenities and touch points, including the progressions, theoretical color, light, and energy. furniture, fixtures, uniforms, and signage, all of which frameworks that could be are intended to recede into the background after per- understood and executed by –AL forming their respective functions, quietly supporting anyone. These works were your experience with art, architecture, and landscape. made with common materials See Also: Throughout the property, materials were selected in a and a limited color palette of Abstraction (14) red, blue, yellow, and black, Commission (28) restrained color palette of silver, black, white, and buff, such as Run IV, 1962, on view Drawing (32–33) in addition to Glenstone Gray, a shade mixed especial- in the Room 2 installation. Painting (55) ly for us by Pantone, the international color-systems Pavilions, the (83) manufacturer.

–EWR and MPR

GS1581.indd 48 8/15/18 9:26 AM 48 LeWitt, Sol Art 49 Design LeWitt, Sol Marden, Brice

–EWR and MPR

GS1581.indd 49 8/15/18 9:26 AM 50 Martin, Agnes Art 51

Martin, Agnes Merz, Marisa Minimal Art

b. 1912, d. 2004. Born in b. 1926. Italian artist Marisa Minimalism first emerged as Canada, Agnes Martin was Merz’s work spans a broad a movement advanced by a an American painter whose range of media, including group of American artists in work is radically spare, as drawing, painting, and sculp- the 1950s, intent on pushing demonstrated by the nearly ture. Merz also worked with a past the expressionism of imperceptible hand-drawn wide and idiosyncratic array their celebrated (Abstract graphite grid of Pilgrimage, of materials, such as woven Expressionist) predecessors. 1966, currently on view in the copper wire, monofilament, Even if many resisted the Room 2 installation. While of- and aluminum sheeting, label, the best-known artists ten described as a Minimalist, which she used in abundance associated with Minimalism— Martin in fact felt a kinship to create sculptures, often such as Carl Andre, Jo Baer, with Abstract Expressionism, in her kitchen at home in Dan Flavin, Donald Judd, and attempted to transcend Turin. Versatile and unbound and Frank Stella—rebelled materiality and engage broad- by convention, Merz created against Abstract Expression- er universal themes in her both small- and large-scale ism’s lush, colorful surfaces by work. In the late 1960s, she works, from delicate sculpted employing simple geometric left New York and traveled clay heads to massive painted forms, repetition, and indus- before ultimately landing in installations that encompass trial materials. Minimalist remote New Mexico. There entire walls. Married to fellow artworks often demonstrate she ceased painting for a artist Mario Merz, she was a straightforward, clean time, only to “reemerge” in the only female member of aesthetic; “what you see is 1974 with a new body of work the Arte Povera movement in what you see,” Stella famously that included subtle strips of postwar Italy. Her sensibility, declared in relation to his pale colors. She lived alone however, remains entirely series of Black Paintings, for the rest of her life in the singular, as is evident in the now recognized as some of Southwestern desert, quietly work Untitled, 1977, currently the movement’s first major demonstrating a thoughtful on view in the Room 2 instal- artistic statements. One of humility and steadfast devo- lation. these paintings, Bethlehem’s tion to her work. Hospital, 1959, is on view in –SOw the Room 2 installation, as –MLe are other works by the artists See Also: mentioned above. See Also: Arte Povera (18) Abstraction (14) Installation (42) –AN Minimal art (50) Painting (55) Painting (55) Sculpture (65) See Also: Postwar art (58) Baer, Jo (19)

Martin, Agnes

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Martin, Agnes Merz, Marisa Minimal Art

Martin, Agnes

GS1581.indd 51 8/15/18 9:26 AM 52 Modern Art Art 53

Modern Art Motonaga, Sadamasa Nauman, Bruce

A term generally invoked in b. 1922, d. 2011. Japanese b. 1941. The works of Amer- conjunction with certain art artist Sadamasa Motonaga ican artist Bruce Nauman movements developed from developed a passion for span a diverse range of the late nineteenth century manga—Japanese comics—as media, from photography and onwards, including Impres- a child, a passion that would drawing to video and neon. sionism, Cubism, Surrealism, remain throughout his life American Violence, 1981– Bauhaus, Futurism, Abstract and influence his work along 1982, on view in the Room 2 Expressionism, and Pop the way. In the early 1950s, installation, consists of eight art. Modern art emphasizes Motonaga exhibited an art- words or phrases rendered in innovation and experimenta- work at the 6th Ashiya City neon in the shape of a swas- tion in forms, materials, and Art Exhibition, at which he tika. All components of the techniques, with a general came across abstract art for light fixtures are intentionally aim to create works that re- the first time. This proved to visible to the viewer: the pow- flect the conditions of modern be a particularly significant er station with its Plexiglas society. Glenstone’s collection moment, prompting his own cover, the transformer, and encompasses many artists shift toward the abstractions four short power cables. The who worked in conversation for which he would eventu- voltage applied to the neon with modernist ideals or ally become known. After glass tubes causes different tendencies. joining the Gutai group in mixtures of gas to emit light 1955, Motonaga continued to in various colors; as American –NR experiment, using amorphous Violence flashes on and off we materials such as water and see phrases both ominous and See Also: smoke. Sakuhin, 1962, on absurd, as though illuminated Beuys, Joseph (20–21) view in the Room 2 installa- on the Vegas strip. The works Bourgeois, Louise (22–23) tion, exemplifies a technique remains unsettlingly relevant Camargo, Sergio (24) the artist developed in which today, almost forty years after Giacometti, Alberto (36) various colors of paint are it was made. Rothko, Mark (64) poured onto the canvas in layers. –SO

–KN See Also: Conservation (30–31) See Also: Flavin, Dan (34) Gutai (39) Light (82–83) Kanayama, Akira (44) Post-Minimal art (58) Painting (55) Process art (59) Shimamoto, Shozo (66–67) Modern art

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Modern Art Motonaga, Sadamasa Nauman, Bruce

GS1581.indd 53 8/15/18 9:27 AM 54 Nouveau Réalisme Art Art Photography 55

Nouveau Réalisme Oiticica, Hélio Oldenburg, Claes Painting Pape, Lygia Photography

In 1960 Pierre Restany, a b. 1937, d. 1980. Brazilian b. 1929. While Swedish- Paintings are, broadly speak- b. 1927, d. 2004. Brazilian Photography, a method of re- French art critic, organized artist Hélio Oiticica worked American artist Claes Olden- ing, produced by applying artist Lygia Pape is known for cording an image using light, an exhibition at the Galleria across various media, includ- burg is especially well known pigment suspended in a highly politicized work across derives its name from the Greek Apollinaire in Milan, bringing ing painting, sculpture, and for producing monumental binder to a surface using any a range of media, including words for light (phos) and to together the work of such art- documentary film. A member sculptures of commonplace of a variety of mark-making sculpture, engraving, per- draw (graphein). The relatively ists as Arman, Christo, Yves of the movement known as items, in 1961 Oldenburg tools—brushes, fingers, squee- formance, and film. In direct short exposure times of the Klein, and Jean Tinguely Arte Neoconcreta, Oiticica staged a now-famous experi- gees, sponges, and so forth. reaction to the Brazilian daguerreotype, an early pho- under the moniker Nouveau often used primary colors mental installation titled The Glenstone’s collection includes Concrete art movement of the tographic process developed by Réalisme, or “new realism.” and elementary shapes to Store, where he “stocked” a works made with oil paint on 1950s, which decreed that Louis-Jacques-Mandé Daguerre The Nouveau Réalistes took a create nuanced artworks commercial storefront with canvas—a classic technique— art objects had no meaning in the 1830s, and, later, the special interest in discarded and architectural sculptures. gloopy plaster re-creations but also works composed with beyond their physicality, Pape convenience of roll film, widely materials and found inspira- He also created large-scale of modestly sized consumer mud on canvas, acrylic on joined several well-known con- distributed by Eastman Kodak tion in the banal grittiness environments for viewers to products. Over the course of a drywall, beeswax on panel, temporaries to form the Arte Company, helped popularize of industrialized urban life. enter into and interact with, few months, Oldenburg sold and many other combinations. Neoconcreta movement, which the medium. Photography Rope, fabric, dinner plates, effectively allowing them to these sculptures at affordable In Yves Klein’s Untitled emphasized the poetic, the was enthusiastically used to posters, car parts, cans, and become a part of the work. prices, replacing items as they Blue Sponge Relief (RE 21), personal, and the engagement capture landscapes, document many other quotidian found Relevo espacial (amarelo) were purchased. Turning the 1960, on view in the Room of the viewer as integral com- new cultures, and assist in objects were given new life in (Spatial relief [yellow]), idea of an “art market” on its 2 installation, for example, ponents of artmaking. Livro scientific endeavors; however, the form of collage, assem- 1960, on view in the Room head, The Store is now consid- natural sponges and pebbles do Tempo I (The Book of Time it wasn’t considered a proper blage, and painting. Restany 2 installation, is painted a ered landmark moment in the are placed on the board and I), 1961, on view in Room 9 in art form (even though artists championed these works, vivid yellow and installed as history of Pop art; Cash Regis- painted over with the artist’s the Pavilions, is composed of were early adopters of the which brought the material a floating shape off the wall. ter, 1961, on view the Room 2 iconic blue pigment. 365 unique wooden objects, medium) until the twentieth of everyday life and art closer Like Oiticica’s larger environ- installation, was created as a or “pages,” representing century, when photography together, as a “new way of ments, this piece draws the part of this early project. –SOw each day of the year. Using began to garner some of the perceiving the real.” audience close to and around primary colors and geometric respect traditionally bestowed it, creating a dialogue where –MLe See Also: sequences, Pape invites the on painting and sculpture. Just –EM person, object, and environ- Abstract Expressionism viewer to create their own as the photographic process ment form a special, even See Also: (14–15) reading of the passage of time. continued to evolve over See Also: symbiotic, relationship. Sculpture (65) Gutai (39) time—most notably with the Arman (16) Warhol, Andy (72) Klein, Yves (45) –NSC advent of digital technology— Assemblage (18) –SHS so has the use of photography Avant-garde (19) See Also: as an artistic medium, as Klein, Yves (45) See Also: Abstraction (14) seen in the photographic silk- Readymade (60–61) Arte Neoconcreta (16) Arte Neoconcreta (16) screen Untitled (We won't play Tinguely, Jean (70) Camargo, Sergio (24) Clark, Lygia (26) nature to your culture), 1983, Clark, Lygia (26) Oiticica, Hélio (54) by Barbara Kruger, on Pape, Lygia (55) Schendel, Mira (65) view in the Room 2 installation. Sculpture (65) –FG

GS1581.indd 54 8/15/18 9:27 AM 54 Nouveau Réalisme Art Art Photography 55

Nouveau Réalisme Oiticica, Hélio Oldenburg, Claes Painting Pape, Lygia Photography

GS1581.indd 55 8/15/18 9:27 AM 56 Polke, Sigmar Art 57

Polke, Sigmar Pollock, Jackson Pop Art

b. 1941, d. 2010. Born in b. 1912, d. 1956. Jackson An influential art movement East Germany, multifaceted Pollock was an American that emerged in Britain and painter Sigmar Polke came to painter and arguably the the United States in the prominence along with fellow key figure in the Abstract 1950s, Pop art blossomed German artists Gerhard Expressionist movement. more fully in the 1960s as Richter and Konrad Lueg in Throughout his career the art- a direct response to these the early 1960s, as part of a ist experimented with a range countries’ unprecedented eco- movement they christened of approaches to drawing and nomic and political successes “Capitalist Realism.” The painting; however, Pollock is in the years following World movement was in many best known for developing the War II. Pop art attempted to ways a send-up of American technique of “drip painting,” critically engage with—and Pop art; Polke’s early works where he would place a even subvert—a supposed engage the commodification canvas directly on the floor trend of societal and economic of objects and advertising and control the flow of paint conformity, melding “high art” culture without Pop’s flashy on it from above. The process with the traditionally low, sheen. His paintings of sau- balanced a singular approach aestheticizing familiar objects sages and chocolate (highly to materials, improvisation, with references to advertising prized items in postwar Ger- and chance to create some and commercial culture. Often many) are darkly humorous, of the most iconic works of making use of kitsch, primary flat, and expressionless, as the last century. Number 1, colors, and multiples—as though one is seeing enlarged 1952, is on view in the Room 2 seen in the work of several of and slightly skewed news- installation. the movement’s most iconic paper ads rendered by hand. figures, such as Andy Warhol Two of his most renowned –AN and Roy Lichtenstein—Pop paintings from this era, art deconstructed the bound- Schokoladenbild (Chocolate See Also: aries between art and media, Painting), 1964, and Der Abstract Expressionism and charted a new direction Wurstesser (The Sausage (14–15) for art as the heyday of Eater), 1963, are on view in Abstraction (14) Abstract Expressionism was the Room 2 installation. Avant-garde (19) beginning to fade. Painting (55) –CD Process art (59) –CD

See Also: See Also: Painting (55) Oldenburg, Claes (54) Pop art (56) Postmodern art (58) Postwar art (58) Printmaking (59) Warhol, Andy (72) Pollock, Jackson

GS1581.indd 56 8/15/18 9:27 AM 56 Polke, Sigmar Art 57

Polke, Sigmar Pollock, Jackson Pop Art

See Also: See Also: Painting (55) Oldenburg, Claes (54) Pop art (56) Postmodern art (58) Postwar art (58) Printmaking (59) Warhol, Andy (72) Pollock, Jackson

GS1581.indd 57 8/15/18 9:27 AM 58 Post-Minimal Art Art Art Process Art 59

Post-Minimal Art Postmodern Art Postwar Art Printmaking Process Art

A term coined by Robert A highly debated term, art In art history, the term post- Printmaking is a broad See Also: In the 1960s and 1970s, art- Pincus-Witten to encapsu- deemed postmodern often war generally refers to the term referencing art made Bourgeois, Louise (22–23) ists began experimenting with late a broad range of related corresponds to a particular period following World War through a multistep repro- Kruger, Barbara (46) new processes for creating art, artistic styles that took root time frame rather than a II and spans a broad range ductive process in which an Warhol, Andy (72) including the use of materials in the United States in the specific style. The period of movements, including intermediary plane is used to that were nontraditional, late 1960s, post-Minimalism generally associated with Abstract Expressionism, Min- transfer an image to the final malleable, and fluid. Lynda is frequently thought of as postmodern art follows the imalism, post-Minimalism, surface. Some methods, such Benglis’s polyurethane pieces, a reaction to Minimal art’s late-1960s rise of a group of Pop art, Conceptual art, Arte as engraving, allow multiple Eva Hesse’s latex sculptures, adherence to rigid geomet- French philosophers (includ- Povera, and Fluxus. The focus prints to be made using a Robert Morris’s felt works, ric constraints, advocating ing Jean Baudrillard and of Glenstone’s collection is on single plate; other methods, and Richard Serra’s Belts instead for more open and Jean-François Lyotard, who postwar artists, and a wide such as monotype, result in reveal the eccentric forms that expressive forms. Post-Mini- questioned the foundations of range of pioneering works unique works. They all share resulted from such experi- malist artists frequently used dominant Western hierarchi- from the period are current- the use of a base (typically ments, in which the use of unconventional materials cal thought), reaching its apex ly on view. From Jackson a plate, surface, or object) gravity often played a role in such as latex, rubber, alumi- in the 1970s and 1980s, when Pollock’s explosion of ges- and pigment, often employ shaping and manipulating num, and neon lights, as seen art employing strategies of tural paint on canvas to Eva pressure, and generally fall the final artwork. The goal of in works by Lynda Benglis, appropriation, quotation, and Hesse’s sculptural innovations within three categories: relief, these artists was not to make Eva Hesse, Bruce Nauman, pastiche flourished. Although using fiberglass and latex, in which the image is raised perfect objects, but to engage and Richard Serra, respective- postmodern art has no singu- artwork produced during this above the printing surface; in a process of making that ly, all on view in the Room 2 lar defining visual style, it is time creates a complicated intaglio, in which the image would itself be embedded in installation. Post-Minimalists typically made in deliberate and sometimes contradictory is etched into the plate’s the work’s finished aesthet- also employed a wide array of reaction to the general ideals portrait of art—and of the surface; and planographic, in ic. Many pieces on view at modes of expression, including of modernism, including, for rich, dynamic, and often diffi- which the image remains flat Glenstone can be classified performance and body art, example, a rejection of the cult history that binds it. on the printing surface. From as process art—which as a Land art, and process art. primacy of originality and of Paleolithic handprints and category often indicates a the artist’s individuality. –MLe stencil art to contemporary shared disposition rather –SE hand-finished digital prints, than inclusion in an official –ET See Also: the history of printmaking movement—including Beng- See Also: Abstract Expressionism spans millennia and remains lis’s cast-aluminum sculpture Benglis, Lynda (20) See Also: (14–15) a vital and dynamic part WING, 1970, on view in the Hesse, Eva (40–41) Arte Povera (18) Arte Neoconcreta (16) of twenty-first-century art Room 2 installation. Minimal art (50) Conceptual art (28–29) Arte Povera (18) practice. The silk-screening Nauman, Bruce (52) Pop art (56) Gutai (39) technique can be seen in –CD Serra, Richard (65) Minimal art (50) Andy Warhol’s Large Flowers, Pop art (56) 1964, on view in the Room 2 See Also: installation. Benglis, Lynda (20) Hesse, Eva (40–41) –CG Serra, Richard (65)

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Post-Minimal Art Postmodern Art Postwar Art Printmaking Process Art

GS1581.indd 59 8/15/18 9:27 AM 60 Public Art Art 61

Public Art Puryear, Martin Rauschenberg, Robert

In its most general sense, pub- b. 1941. American artist b. 1925, d. 2008. Coca- lic art refers to any artwork Martin Puryear was born in Cola bottles, a worn pair of that has been planned and Washington, DC, and works boots, a clock, and a small executed with the intention primarily with materials such ceramic dog, all placed on of being embedded within the as wood, stone, and metal. and around a gold Japanese public sphere. In practice, Puryear studied traditional folding screen, are just some public art is often site-specific, crafts in Sierra Leone while in of the elements in American outdoors, and accessible. His- the Peace Corps, printmaking artist Robert Rauschenberg’s torically, much public art has at the Royal Swedish Acade- Gold Standard, 1964, on view been militaristic in nature, my of Arts in Stockholm, and in the Room 2 installation. with monuments, memorials, sculpture at Yale University. Originally created during a and statues erected to cele- Puryear is perhaps best four-hour artist talk–turned– brate victories and political known for his works in wood, improvised performance in and civic leaders. As political, which range from organic Tokyo on November 28, 1964, social, and cultural climates forms inspired by nature to Gold Standard is the final grow increasingly complex, abstracted representation- work produced as part of public art has come to rely al objects. Big Phrygian, Rauschenberg’s revolutionary more heavily on visual artists 2010–2014, and The Load, Combine series (1954–1964). who register current events 2012, on view in the Passage The Combines are seen as or use their work to rally in the Pavilions, are examples a significant moment in post- for a specific cause. David of the latter. Made of several war American art, as Hammons’s How Ya Like Me different types of wood—pine, Rauschenberg extended the Now?, 1988, is an example red cedar, ash, and maple—as painterly gestures of Abstract in Glenstone’s collection of a well as steel and glass, the Expressionism into three- work created for the public work incorporates a found dimensional painting-sculp- sphere—and originally shown carriage with a sculpture of a ture hybrids, incorporating in downtown Washington, DC. giant eye inside. Puryear also found materials and setting collaborated with furniture the stage for Pop art. –NSC fabricator Michael Hurwitz on the centerpiece bench in –CD See Also: the viewing gallery, made of Commission (28) hickory with a maple veneer. See Also: Hammons, David (39) Appropriation art (16–17) Sculpture (65) –KB Assemblage (18) Site-specific (66) Pop art (56) See Also: Commission (28) Sculpture (65) Wood (89–91) Puryear, Martin

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Public Art Puryear, Martin Rauschenberg, Robert

GS1581.indd 61 8/15/18 9:27 AM 62 Ray, Charles Art 63

Ray, Charles Readymade

b. 1953. The work of American The term readymade, coined Over time, the term has artist Charles Ray is difficult by French artist Marcel broadened to include the to categorize; his diverse Duchamp in the early 1900s, more general use of found or practice spans different denotes artworks that are manufactured objects as art media, subject matter, styles, minimally altered, mass- material, such as the glasses, and concepts. Ray began his produced found objects; bottles, and kitchen cabinet in artistic career under the tu- removed from their original Yayoi Kusama's Accumulation telage of the sculptor Roland contexts, these objects gain on Cabinet No. 1, 1963. Brener at the University of new meaning when designat- Iowa. During this time, he ed as artworks. Duchamp’s –AL was exposed to the works of readymades challenged the English sculptor Anthony conventional ideas that art See Also: Caro and to concepts such as should be beautiful and made Arman (16) tension, seriality, and balance. by the artist’s hand, instead Avant-garde (19) This formalist language is placing emphasis on the Conceptual art (28–29) evident in Ray’s exploration idea behind the artwork and Duchamp, Marcel (32) of perspective, his handling of ultimately paving the way for materials, and his conceptu- the emergence of Concep- alization of form within a sur- tual art. Two of Duchamp’s rounding space. Baled Truck, earliest and most infamous 2014, one of several works readymades are on view in by the artist on view in the the Room 2 installation—Roue Pavilions, is a sculpture of a de Bicyclette, 1913/1964, and large truck compressed into a Fountain, 1917/1964. tight block: though it appears to have been compacted by a junkyard-style car crusher, in fact the thirteen-ton sculpture was machined from solid stainless steel.

–JSh

See Also: Pavilions, the (83) Sculpture (65) Stainless steel (86)

Readymade

GS1581.indd 62 8/15/18 9:27 AM 62 Ray, Charles Art 63

Ray, Charles Readymade

–JSh

See Also: Pavilions, the (83) Sculpture (65) Stainless steel (86)

Readymade

GS1581.indd 63 8/15/18 9:27 AM 64 Rist, Pipilotti Art Serra, Richard 65

Rist, Pipilotti Roth, Dieter Rothko, Mark Schendel, Mira Sculpture Serra, Richard

b. 1962. Pipilotti Rist is a b. 1930, d. 1998. Swiss artist b. 1903, d. 1970. Born in Lat- b. 1919, d. 1988. Artist Mira Whether carved, cast, molded, b. 1938. American sculptor Swiss visual artist and film- Dieter Roth is one of the most via as Markus Yakovlevich Schendel spent her early assembled, or constructed, Richard Serra’s interest in maker known for pioneering prolific users of food as an Rothkowitz, American painter years in Europe before moving sculpture allows the viewer steel grew from his early short-length, engrossing video artistic medium. Weighing in Mark Rothko is widely to Brazil in the late 1940s, to go beyond single-point visits to scrap metal yards artworks and multimedia at 816 pounds, Herd (Stove), recognized for developing and displacement—both perspective and experience and boatyards. The use of this installations. For many of her 1969, on view in the Room now-iconic large-scale Color geographical and metaphor- a work three-dimensionally industrial material as a mal- most recognizable films she 2 installation, consists of Field paintings, in which lay- ical—is a recurring motif through shifting points of leable medium, which can be employed herself as director, melted chocolate oozing out of ered rectangles seem to both throughout her work. Often view. At Glenstone sculptures manipulated to produce seem- producer, star, and compos- a previously used wood-fired recede into and emerge out contextualized within the geo- are presented without stan- ingly fluid forms, became Ser- er, an ongoing practice that kitchen stove. The stove of vast fields of contrasting metric abstraction espoused chions or barriers, granting ra’s hallmark, exemplified by reflects her varied interests rests on a wooden stand with colors. His unique paint appli- by Brazilian modernism, her visitors the freedom of move- the weathering-steel outdoor in human emotion, female black handles, which Roth cation involved thinly layered works are abstract, mini- ment to fully absorb a work’s sculptures Sylvester, 2001, at sexuality, psychology, music, considered part of the work. hues and broad brushstrokes, mal, formalist, and entirely presence in its given space the Gallery’s entrance, and and her own body. By keeping The melted chocolate became and his large canvases can handmade. Famous for or location. Walk around Contour 290, 2004, which was her videos short, Rist is mim- hard and brittle over time, feel expansive and evoca- her Monotypes (drawings and observe the many sides commissioned by Glenstone. icking the bite-size nature of and small holes—where tive, luminous and sensual. created by scoring translucent from different standpoints. Throughout his prolific career, commercial culture and the insects eventually burrowed Rothko strove to engage Japanese rice paper with her Encompass the work. Let it Serra has also worked in a manic attention span of a gen- through—remain visible on its certain universal tensions in fingernails) and her series encompass you. multitude of unconventional eration raised on MTV. Over surface. The artist embraced his work, such as tragedy, Graphic Objects (large swaths materials such as vulcanized and over, she forces viewers to this decay, accepting these irony, and wit, and he wished of rice paper with nonsen- –SW rubber, neon tubing, and lead, reconcile the juxtaposition be- changes as part of the work. for his paintings to provide sical lettering and poetry as seen in White Neon Belt tween what they see and how While a preoccupation with an immersive, intimate written across each side, hung See Also: Piece and To Lift, both 1967, they feel. Composed with the entropy is one of the corner- experience for the viewer. The between transparent acrylic Goldsworthy, Andy (36–37) and Corner Prop, 1969, on intent of relaxing the viewer stones of Roth’s work, for a large and enveloping No. 9 sheets), Schendel’s work is Horn, Roni (40) view in the Room 2 installa- with playful music while conservator it makes things (White and Black on Wine), deeply rooted in her personal Koons, Jeff (46) tion. showcasing a joyful act of re- even more intriguing: if an 1958, is on view in the Room 2 sense of self. Three of her Serra, Richard (65) peated vandalism, the surreal infestation were to occur, installation. Graphic Objects, dating from Sight line (105) –AL and analog Ever Is Over All, any resulting markings from 1960 to 1972, are on view in Smith, Tony (68) 1997, is presented in Room either the infestation or its –PI the Room 2 installation. See Also: 6 of the Pavilions. Widely eradication would, according Meadow (103) considered an iconic feminist to the artist, become part of See Also: –NSC Sculpture (65) statement, the work served the official work. Abstract Expressionism Sight line (105) as inspiration for Beyoncé’s (14–15) See Also: Site-specific (66) 2016 music video Hold Up. –SO Modern art (52–53) Abstraction (14) For art critic Peter Schjeldahl, Painting (55) Clark, Lygia (26) “anarchy has never been so See Also: Drawing (32–33) honey-sweet.” Post-Minimal art (58) Oiticica, Hélio (54) Process art (59) Postwar art (58) –NSC

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Rist, Pipilotti Roth, Dieter Rothko, Mark Schendel, Mira Sculpture Serra, Richard

GS1581.indd 65 8/15/18 9:27 AM 66 Shimamoto, Shozo Art 67

Shimamoto, Shozo Shiraga, Kazuo Site-Specific

b. 1928, d. 2013. Shozo b. 1924, d. 2008. Having A term prevalent in artistic Shimamoto was a Japanese originally trained in the discourse since the 1970s, artist and cofounder of the traditional Japanese painting site-specific refers to artwork avant-garde Gutai group, practice of nihonga, artist conceptualized and created as well as a key figure in Kazuo Shiraga eventually in direct relationship to its Japanese correspondence art. joined the radical Gutai location (whether geographic, Like many of his Gutai peers, group in postwar Japan. For institutional, environmental, Shimamoto was focused on the Shiraga, the body itself was or social). The phrase gained unique physicality of materials a primary vehicle for artistic notice in the controversy and on processes that pushed expression, and he developed surrounding Richard Serra’s beyond traditional techniques an idiosyncratic, vigorous Tilted Arc, 1981, a sculp- or forms. His works often bear approach to making that ture originally installed at the imprint of the active—and synthesized both painting Federal Plaza at Foley Square almost violent—practices of and performance. Placing a in downtown New York. their making, such as Untitled canvas on the floor, Shiraga Protestors petitioned for the (White), 1955, on view in the would suspend himself from artwork’s remov al, arguing Room 2 installation. Part of the ceiling by rope, using only that the work disrupted a series of works involving his feet to manipulate large public use of the space. Serra punctures to the support, this swaths of paint on its surface. maintained that Tilted Arc piece was built up using layers The direct connection between “is a site-specific work and as of newspaper that Shimamoto body and material was key, such it is not to be relocated. painted, a process that even- and the resulting surfaces To remove the work is to de- tually tore holes through the remain some of the most tem- stroy the work.” At Glenstone, papers’ hardened surface. The pestuous and dynamic of late the commissioned outdoor artist has written that “even twentieth-century abstraction. sculpture Contour 290, 2004, if my method seems shocking An early painting made using is site-specific. . . . because I am an artist my this method, Untitled, 1958, purpose is to make the work is on view in the Room 2 –AR beautiful, to show the beauty installation. of everything.” See Also: –AR Commission (28) –AR Goldsworthy, Andy (36–37) See Also: Kelly, Ellsworth (44) See Also: Abstraction (14) Sculpture (65) Avant-garde (19) Avant-garde (19) Serra, Richard (65) Gutai (39) Gutai (39) Painting (55) Painting (55) Postwar art (58) Postwar art (58) Shiraga, Kazuo

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Shimamoto, Shozo Shiraga, Kazuo Site-Specific

GS1581.indd 67 8/15/18 9:27 AM 68 Smith, Tony Art Art Time-based Media 69

Smith, Tony Sound Art Stella, Frank Still, Clyfford Tanaka, Atsuko Time-based Media

b. 1912, d. 1980. Tony Smith Sound art provides an experi- b. 1936. American artist Frank b. 1904, d. 1980. A pioneer of b. 1932, d. 2005. Atsuko Time-based media is a broad, was an iconic American artist ence that relies primarily on Stella first gained recognition postwar American painting, Tanaka was a pioneering all-inclusive term used to best known for large-scale the audience’s sense of hear- for a series of symmetrical, Clyfford Still was one of the artist whose work gained describe the field of art pro- Minimalist sculptures made of ing. The sound can encompass monochromatic canvases he first Abstract Expressionists prominence as part of a flour- duction in which duration is industrial materials. Smith's anything from recognizable made between 1959 and 1960, to shift away from the repre- ishing Japanese avant-garde a fundamental characteristic. Smug, 1973/2005, exemplifies musical notes, spoken words, now collectively known as sentational and embrace non- following World War II. Tana- Digitally produced art employ- the style of geometric abstrac- and background noise to the Black Paintings. These figurative abstraction. Some ka’s most iconic work involves ing video, sound, and software tion most characteristic of silence, ambient atmospher- paintings were executed in have seen natural phenome- performance; her Electric is frequently included in his work, and is prominently ic rumblings, and barely regular two-and-a-half-inch na—caves or flames—in Still’s Dress, 1956, created while she the category of time-based installed on the grounds at perceptible vibrations. Artists strokes in black enamel paint, colorful, riotous canvases, was a member of the ground- media; kinetic sculpture and Glenstone. The artist origi- variously use the medium of with a thin line of canvas and the artist relied heavily breaking Gutai group, was performance art are classified nally built a plywood mockup sound to produce an emotional left bare between each strip; on vertical forms to explore a a wearable shift made from as time-based media as well, of this piece in his New response, visceral reaction, Stella’s innovation with this tension between the human flashing electric lights in red, because temporal change is Jersey backyard; while the memory, or confusion in the approach was in creating a spirit and forces of nature yellow, blue, and green, wired integral to such works. An intended painted aluminum audience. Often the auditory “non-relational” painting—in (Still spoke of the “vertical together and plugged into the example of time-based media version was never completed experience, though primary, other words, a painting where necessity of life”). Though he wall. From the 1960s onward at Glenstone is the outdoor during his lifetime, Glenstone is not the only focus of sound no one section commanded was an active participant in Tanaka produced mainly ab- sound installation FOREST manifested this final version art: installations can involve more attention than any other. New York’s vibrant 1950s stract paintings, whose color (for a thousand years . . . ), working in close collaboration visual, spatial, or other phys- The Black Paintings are now art scene, Still eventually and composition often recall 2012, by Janet Cardiff and with the artist's family. ical and sensory consider- seen by many as the decisive grew disillusioned with the the Electric Dress’s tangled George Bures Miller, which ations. One example of sound hinge between modernism art world and left New York and vibrant web. WORK, plays on a continuous twen- –AH art in Glenstone’s collection and the Minimalist movement to settle on a farm in Carroll 1963, on view in the Room ty-eight-minute loop along is Janet Cardiff and George that emerged during the later County, Maryland, where he 2 installation, demonstrates the woodland trail. Conser- See Also: Bures Miller’s FOREST (for a half of the twentieth century; remained—and painted—for the playfulness and rigor of vation of time-based media Abstraction (14) thousand years . . . ), 2012. one of these early paintings, the rest of his life. His 1949-A, Tanaka’s practice—at once is a developing practice that Framed views (78–79) Bethlehem’s Hospital, 1959, is No. 2, 1949, is on view in the organic and ordered, a mix of requires a nimble response to Minimal art (50) –MC on view in the Room 2 instal- Room 2 installation. chaos and harmony. the impending obsolescence Sculpture (65) lation. The title is a reference of technologies and methods, See Also: to the infamous psychiatric –SW –AR such as digitizing videos Cardiff, Janet and George hospital in London more com- recorded on VHS tapes or Bures Miller (26–27) monly known as Bedlam. See Also: See Also: documenting code written for Installation (42) Abstract Expressionism Avant-garde (19) a software-based work. Time-based media (69) –JSh (14–15) Gutai (39) Painting (55) Painting (55) –SOw See Also: Postwar art (58) Abstraction (14) See Also: Minimal art (50) Contemporary art (30) Painting (55) Conservation (30–31) Rist, Pipilotti (64)

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Smith, Tony Sound Art Stella, Frank Still, Clyfford Tanaka, Atsuko Time-based Media

GS1581.indd 69 8/15/18 9:27 AM 70 Tinguely, Jean Art 71 Sustainability Tinguely, Jean Trockel, Rosemarie Truitt, Anne

b. 1925, d. 1991. Swiss artist b. 1952. German artist b. 1921, d. 2004. Abstract Jean Tinguely began making Rosemarie Trockel’s diverse artist Anne Truitt was based assemblage sculptures from practice draws from a variety primarily in Washington, DC, found objects in the mid- of sources, including text, and is often associated with 1940s. Inspired by the rapid technology, natural history, male-dominated movements industrialization around him, politics, and popular culture. such as Minimalism and the the artist soon introduced While her oeuvre includes Washington Color School. mechanical movement to his film, video, ceramics, clothing, Truitt’s practice eschewed sculptures—often creating drawing, collage, and sculp- the industrial materiality of works that could be animated ture, she is best known for Minimalist peers like Donald by movement and subse- her knitted paintings, which Judd; she often worked in quently self-destruct, like engage both the history of the wood, which she painted Glenstone’s Grande Méta- Cold War and deep-seated and sanded by hand. She is Mecanique No. 1, 1955. The gender norms by transforming best known for her totemic artist described these works traditional “women’s work” sculptures, such as Southern as “metamatic,” laying the into fine art. This material re- Elegy, 1962, on view in the groundwork for a movement positioning is visible in works Room 2 installation. These which subsequently became such as Made in Western works subtly engage the A sustainable outlook aims to responsibly use, main- known as kinetic art. Germany, 1987, on view in the idea of monumentality and Room 2 installation. From a architecture and are inspired tain, and fortify the resources currently available –AN distance, this untitled triptych by natural light; their color so that future generations can derive the greatest reads like a monochromatic combinations range from possible benefit from what they inherit. At Glenstone See Also: painting—shades of black on subdued to vibrant, playful to we broadly define "resources" to include energy, the Assemblage (18) three panels—but, on closer lyrical. Truitt was also an in- natural environment, financial assets, archives, and art Nouveau Réalisme (54) inspection, it reveals its more sightful writer; her published collections. We recycle, compost, use energy-efficient Sculpture (65) complicated form: knitted works, including Daybook: wool pulled taut on a wood The Journal of an Artist, are LED light fixtures, and source food from local farms. frame, revealing the repeated eloquent meditations on what We have also developed in-house expertise to extend phrase made in western it means to live as an artist in the life of institutional assets, including digital archive germany. the modern age. preservation and contemporary art conservation. On the landscape side, extensive stream-restoration –CD –MC efforts are intended to revive aquatic ecosystems in See Also: See Also: the surrounding area, which have long been dormant Painting (55) Light (82–83) due to erosion. Sustainability in all its forms implies a Minimal art (50) commitment to a long-term view, where progress is Sculpture (65) measured in decades, not years. Wood (89–91) –EWR and MPR

GS1581.indd 70 8/15/18 9:27 AM 70 Tinguely, Jean Art 71 Sustainability Tinguely, Jean Trockel, Rosemarie Truitt, Anne

GS1581.indd 71 8/15/18 9:28 AM 72 Twombly, Cy Art 73

Twombly, Cy Warhol, Andy Weiner, Lawrence

b. 1928, d. 2011. American b. 1928, d. 1987. American b. 1942. Informed by a deep artist Cy Twombly drew inspi- artist, director, producer, and interest in sociopolitical ration from multiple sources: cultural icon Andy Warhol theory and in the relation- poetry, mythology, his began his career as a commer- ship between human beings travels in Europe and North cial artist and incorporated and objects, American artist Africa, and a long-standing elements from advertising Lawrence Weiner uses lan- interest in symbols, which and graphic design into the guage as his primary artistic began during his time as a artwork for which he would material. To Weiner, words cryptographer for the United eventually become known. are simple, nonimposing, and States military in the 1950s. Warhol was a central figure malleable. By creating sculp- Although best known for his in the American Pop art tural works out of language, gestural paintings incorpo- movement; his silk-screened Weiner offers what he defines rating scribbles, scratched canvases, such as Large as “a universal common lines, and words, Twombly Flowers, 1964, on view in the possibility of availability.” also worked in sculpture, as Room 2 installation, are some Evoking Minimalism’s evidenced by the suite of five of Pop’s most recognizable utilitarian and de-skilled forms currently on view in images. Warhol also worked ethos, Weiner’s sculptures are the Pavilions. Room 11 was in a range of other media, nonprescriptive, becoming designed in collaboration producing films, television, specific depending on context, with the artist to house these performances, and photogra- installation, and reception, as particular works; most are fin- phy, and had a penchant for such creative and interpre- ished in white paint or made entrepreneurship and collabo- tive decisions are left to the of plaster and combine organic ration, producing much of his exhibitor and viewer. Weiner’s materials such as twine, work with teams of assistants MATTER SO SHAKEN TO palm leaves, and nails from at his infamous New York ITS CORE TO LEAD TO A Gaeta, the Italian coastal city studio known as the Factory. CHANGE IN INHERENT where he lived and worked for Warhol’s impresario-like FORM TO THE EXTENT decades. activities made him a bona OF BRINGING ABOUT A fide star, one who blurred the CHANGE IN THE DESTINY –SW boundaries between mass OF THE MATERIAL culture and high art. PRIMARY SECONDARY See Also: TERTIARY, 2002, on view Assemblage (18) –JH in the Entry Pavilion, is one Pavilions, the (83) of the first works visitors Plaster (84) See Also: encounter when visiting the Sculpture (65) Pop art (56) Pavilions. Printmaking (59) –EB Weiner, Lawrence

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Twombly, Cy Warhol, Andy Weiner, Lawrence

GS1581.indd 73 8/15/18 9:28 AM 74 Yoshida, Toshio Art Architecture

Yoshida, Toshio

b. 1928, d. 1997. Japanese artist Toshio Yoshida, perhaps the most experimental member of the Gutai group, used his work to playfully investigate the relationship between painting and performance. Chance was a large part of his practice; beginning in the 1950s, for example, Yoshida experimented by applying heat directly onto wood panels and pouring india ink onto canvas using a watering can ten feet away. Sakuhin (56-12), 1956, whose title translates to “work” in En- glish, is on view in the Room 2 installation. It is an example of Yoshida’s series of “brushstroke” paintings; here, a sin- At Glenstone, we aim to further the conversation about gle, enormous, thickly spread twenty-first-century museum architecture and to foster distinct brushstroke is set against a architectural voices in creating unique environments for art. monochromatic background. Our two main buildings, the Gallery and the Pavilions, which For Yoshida, such seemingly offer a total of fifty-nine thousand square feet of exhibition simple gestures could register space, demonstrate different yet synchronous approaches to as surprisingly poignant med- the modernist dictum “form ever follows function,” and were itations on time, continuity, designed expressly to support the art in Glenstone’s collection. and presence. Many of the rooms in the Pavilions were developed in direct conversation with artists to house specific works of art. In other –EM spaces, the architecture is intended to be extremely adaptable to the disparate needs of changing exhibitions. See Also: Avant-garde (19) Careful attention has been given both to the big picture—how Gutai (39) the architecture is set into the surrounding landscape—and to Painting (55) the tiniest details, such as the specific color and placement of exit Postwar art (58) signage. The following pages include information about the ethos that guides our efforts, and the materials and methods that bring these buildings to life.

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Yoshida, Toshio

GS1581.indd 75 8/15/18 9:28 AM 76 Climate Control Architecture 77

Climate Control Concrete

Climate control generally Cast-in-place Precast refers to the technology used to provide environmental The cast-in-place concrete The light gray facade and comfort and to ensure healthy visible in the interior of the interior walls of the Pavilions air quality for a building’s Pavilions is a highly special- are made up of approxi- human occupants. While ized architectural concrete, mately twenty-six thousand heating and air-conditioning which was poured and dried precast concrete blocks, each systems maintain building on site. Its mixture includes measuring six feet by one foot temperature, dehumidification pure white and common gray in length. These blocks were systems maintain humidity cement as well as locally quar- poured off-site and cast from levels within a desired range. ried aggregate stones, and the same mixture and form- Both work in conjunction its formwork was handmade work. While uniform, each with a building’s ventilation from Finnish plywood panels block is also unique: weather system, which recirculates to provide a smooth and conditions during the casting or replaces air to replenish precise exterior finish. Slight and curing process have oxygen and remove harm- natural variations are visible resulted in a spectrum of color ful or unpleasant airborne in its surface, including subtle variations—blocks poured in particulates. At Glenstone all changes in color, “lift lines” the winter darkened due to interior climates are carefully (from where the formwork colder temperatures and a controlled for the comfort and was removed), and “bug holes” slower evaporation of water, safety of visitors and staff and (small air pockets that formed and blocks stripped (i.e., for the needs of art exhibition when the cement was poured removed from their formwork) and storage, as proper tem- and set). These markings in the rain developed a higher perature and humidification reflect an organic process contrast in surface finish than levels are essential for long- that produces an elegant and those that were stripped in term art preservation. idiosyncratic material; no two sunlight. The exterior blocks panels are ever fully alike. of the Pavilions are stacked –BL up to sixty feet high, and their –VN surfaces will develop further See Also: contrast over time as the ma- Conservation (30–31) See Also: terial ages and weathers. Ecosystem (99) Pavilions, the (83) Gallery, the (78) –VN Green Roof (80) LEED (81) See Also: Pavilions, the (83) Pavilions, the (83) Sustainability (71) Phifer, Thomas (84)

Concrete

GS1581.indd 76 8/15/18 9:28 AM 76 Climate Control Architecture 77

Climate Control Concrete

Concrete

GS1581.indd 77 8/15/18 9:28 AM 78 Entrance Architecture 79

Entrance Framed Views Gallery, The

The journey to Glenstone be- In East Asian garden design, The Gallery opened to the gins along Glen Road, where “borrowed scenery” (借景) is public in 2006 as Glen- a stretch of reforested terrain a technique of incorporating stone’s first architectural recalls the area’s original views of distant landmarks space for art. The building woodlands. As visitors turn off into a garden composition. was designed, along with the road to enter, they pass Architect Thomas Phifer’s con- the adjacent Patio, by New through an entry gate of dry- cept for the Pavilions was in York–based architect Charles laid stone, made of Carderock part inspired by the dry gar- Gwathmey. Gwathmey quarried nearby. Built accord- den at Ryoan-ji, the Buddhist envisioned the Gallery as ing to centuries-old tradition temple in Kyoto that employs providing two very different, and partly inspired by Andy framed views to great effect. extremely flexible situations Goldsworthy’s outdoor sculp- The garden features fifteen for displaying art: a gallery ture Clay Houses (Boulder- stones placed asymmetrically flooded with natural light Room-Holes), 2007, the stone within a rectangular field of (the space one enters from the entry wall embodies the same raked gravel. From the adja- outside), and interior rooms architectural principles as the cent platform, there is no sin- that provide a more tradition- Pavilions, employing simple gle vantage point that permits al “white cube” environment, materials in precise ways. a complete view of all fifteen separated from the outdoors. The journey continues to the stones, which has led some to Speaking about the project in parking groves (each planted interpret the garden as a Zen 2005, Gwathmey championed with a tree species native to koan—a meditation strategy its integration of the spheres the surrounding forest), past used by monks to suspend of art and architecture: “I the arrival hall, over a small reason in favor of intuition. think that’s really what footbridge, and out into a Likewise, it is impossible to makes this so enriched and sprawling meadow, where a see all twelve structures that unique . . . the art and the ar- visitor’s first glimpse of the comprise the Pavilions from chitecture are not disengaged Pavilions is framed by a large the surrounding landscape. and are not incompatible phil- American sycamore and Jeff The undulating topography osophically. They’re mutually Koons’s Split-Rocker, 2000, and sinuous pathways leading engaged, and make a much in the distance. The entry to the entrance work in more dynamic experience.” sequence is orchestrated to concert to gradually reveal encourage visitors to slow the massing of architectural –EB down and take a breath, and forms as visitors traverse the to fuel a sense of curiosity landscape. See Also: about what lies ahead. Exhibition (34) –EWR Gwathmey, Charles (81) –FG Light (82–83) See Also: Pond (104) Pavilions, the (83) Sight line (105) Framed views

GS1581.indd 78 8/15/18 9:28 AM 78 Entrance Architecture 79

Entrance Framed Views Gallery, The

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Glass Green Roof Gwathmey, Charles LEED

Acid-etched Transparent A primary design consider- b. 1938, d. 2009. Charles of Le Corbusier—that had in- Leadership in Energy ation for the Pavilions cen- Gwathmey was one of the pre- spired his parents’ home and and Environmental Design Acid-etched glass is created Dozens of large, seamless tered on Glenstone’s mission eminent modernist architects studio. His oeuvre includes (LEED) is a worldwide rating by washing clear glass in a transparent glass panels statement: to seamlessly of the generation that came of numerous large modernist system used to certify green light acid bath to create a line the eighteen-thousand- integrate art, architecture, age in the 1960s and 1970s. residences in California, Tex- buildings based on princi- uniform and semitransparent square-foot Water Court at and the landscape. By phys- Educated at the University as, and Europe, as well as a ples of design, construction, glazing (a technique that the center of the Pavilions. ically embedding portions of of Pennsylvania and Yale, he residence and guest house on operation, and maintenance. produces a smoother finish Measuring up to thirty feet the two-acre building into the achieved recognition early the Glenstone property that At Glenstone, all architectur- than sandblasting, in which tall and set in stainless-steel earth, with nearly 50 percent in his career for the house reinterpret the traditional al projects aim to maximize high-pressure air is used to mullions, these German-made of its surface covered in soil and studio he designed in villa, at once celebrations of efficiency of resources, reduce cut the glass surface). A type panels—some of the largest and native flowers and grass- Amagansett, New York, in grandeur and expressions of emissions, and keep costs of glass etching—itself a popu- in the world—open a dialogue es, the Pavilions have a “green 1965 for his parents, the intricate modernist geome- down—a process that involves lar decorative technique—ac- between the interior and roof” that provides numerous painter Robert Gwathmey tries. careful selection of construc- id-etching allows bright yet exterior, connecting the environmental and struc- and the photographer Rosalie tion materials, fixtures, diffused light to penetrate exhibition spaces with the tural benefits. In addition to Gwathmey. A pair of stark –PG and the implementation of from the outside world in. The landscape. The largest glass improved storm-water man- wooden structures of powerful building management systems clerestories in the Pavilions panel in the Pavilions is the agement from reduced runoff, and simple geometries, the See Also: that monitor energy output are made of acid-etched glass, window in Room 7; engineered our green roof improves water Gwathmey house and studio Gallery, the (8–9, 78) for optimal use. LEED offers offering a particularly even specifically for the space, the quality, conserves energy, were widely publicized and in- Oculus (83) four levels of certification: light for the display of art. window faces acres of rolling mitigates the urban “heat fluenced a generation of mod- Teak (95) Certified, Silver, Gold, and meadow, offering viewers a island” effect, increases the ernist houses; the structures Zinc (91) Platinum; different build- –VN moment of repose. longevity of roofing mem- are now considered among the ings at Glenstone have been branes, reduces noise and air iconic American residences designed with different certifi- See Also: –EM pollution, sequesters carbon in of the mid-twentieth century. cation levels in mind, ranging Clerestory (82) the soil, and provides habitat Along with his partner Robert from Gold (the Pavilions) to Conservation (30–31) See Also: for wildlife. Siegel, Gwathmey went on Platinum (Arrival Hall). Light (82–83) Framed views (78–79) to design a wide range of Horn, Roni (40) –PT commercial and institution- –CJ Sight line (105) al buildings, including the Water Court (88) See Also: Gallery at Glenstone, but See Also: Ecosystem (99) unlike many architects with Climate control (76) LEED (81) large and varied practices, Green roof (80) Pavilions, the (83) designing houses remained LED (82) Storm-water management his passion. Even as his work Pavilions, the (83) (107–108) became both more elaborate Sustainability (71) Sustainability (71) and more complex, he continued to explore the themes of modernist space and form— often influenced by the work

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Glass Green Roof Gwathmey, Charles LEED

GS1581.indd 81 8/15/18 9:28 AM 82 Light Architecture Architecture Pavilions, The 83

Light Pavilions, The

Clerestory LED Louver Oculus Shade The Pavilions were conceived as a gathering of rooms en- Middle English for “clear LEDs (light-emitting diodes) Louvers are angled or flat An oculus (from the Latin The shade system in the circling a central water court, story,” the term clerestory was are the primary type of slats used to control the word meaning “eye”) is a Pavilions is an integral thoughtfully embedded in the originally used to reference artificial lighting used at flow of air and/or light in circular or oval opening, element of the building’s surrounding landscape. From the narrow upper-level Glenstone, meant to augment architectural settings. At usually at the center of a lighting design, with large a distance, these rooms ap- windows placed at the highest the abundant natural light in Glenstone, louvers are used as dome, through which light shades installed to cover the pear as a cluster rising from section of a wall to admit air the museum’s buildings. LEDs environmental controls. In the or precipitation may pass, windows in the Passage and the meadow, recalling the me- and light into a church or have many advantages over Gallery, louvers facilitate the and which often served the clerestories in several dieval town of San Gimignano cathedral. At Glenstone, the incandescent light sources, amount of natural light that historically as a building’s rooms. These shades are (known as the “town of fine clerestory windows provide including lower energy con- can enter the space, providing ventilation system. The oculus controlled by sensors that towers”), a touchstone when soft, natural light in the Pavil- sumption (at least 75 percent control over how light may as architectural feature has automatically adjust to chang- developing the Pavilions’ plan. ions, which changes through- less), better longevity (with affect art objects on display. its origins in ancient Rome, ing daylight exposures; when Each room was designed with out the day and seasons. LEDs lasting approximately When fully open, the louvers where perhaps one of the most these sensors detect too much unique proportions; many twenty-five times longer), in the Gallery’s skylight allow famous examples of the form, heat or sunlight, the shades were designed expressly for –VN improved physical robust- for the maximum amount the central aperture in the automatically lower to block specific works of art. The ness, and smaller size. They of available natural light; Pantheon, can still be seen additional light, and when building’s primary materials See Also: offer better light quality and conversely, closed louvers today. Charles Gwathmey they register a dimming of are concrete and glass, blend- Acid-etched glass (80) repeatable dimming, both of are more appropriate for incorporated an oculus at light, they trigger the reverse. ing a sense of permanence and Pavilions, the (83) which are important for use in displaying works requiring the entrance of Glenstone’s In regulating light and heat of the ethereal. Natural light Phifer, Thomas (84) a museum. LEDs are capable the consistency of artificial Gallery, though not in the retention, shades supplement is considered here as a ma- of emitting directional light, light, or which are—like color traditional context: the oculus Glenstone’s art conservation terial in its own right: rooms which reduces the amount of photography—sensitive to pierces the zinc overhang, efforts in significant ways, by were placed deliberately on light required and eliminates prolonged sun exposure. mirroring the opening at the both reducing art’s expo- the cardinal points in order the need for reflectors and top of Richard Serra’s nearby sure to harmful amounts of to highlight the movement of diffusers. Because less heat is –JH Sylvester, 2001. Visitors to light, and ensuring desirable the sun’s daily passage, and produced by LEDs, the cooling the museum have often noted climate control within the many are intended to be lit by load on the building is reduced See Also: the similarity when looking gallery spaces. natural light alone. In moving in turn—for every three Gallery, the (78) up through the oculus and through the various rooms kilowatt hours of energy saved through Sylvester: the sky –EB and the glass-enclosed cir- by using lower-energy LEDs, seems to become part of both culation path, light seems to around another one kilowatt the art and architecture. dissolve the barrier between hour of energy is saved by the outside and inside, between building’s cooling system. –SE landscape and architecture.

–CJ See Also: –TPP Gallery, the (78) See Also: Gwathmey, Charles (81) Climate control (76)

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Light Pavilions, The

–CJ See Also: –TPP Gallery, the (78) See Also: Gwathmey, Charles (81) Climate control (76)

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b. 1953. Thomas Phifer, the of his work shares a metic- Used as both a protective and architect of the Pavilions ulous, highly refined sense decorative coating, plaster at Glenstone, was awarded of detailing and an unusual is a type of wall treatment the commission in late 2010 grace. applied directly onto a raw after a two-stage invitation- substrate in successive layers. al competition, for which –PG Its use can be traced as far he proposed a museum of back as ancient Pompeiian multiple pavilions, unequal in See Also: and Roman structures, and it size, arrayed around a central Light (82–83) continues to be commonly em- reflecting pool. Unlike many Framed views (78–79) ployed in construction today. designs submitted to architec- Pavilions, the (83) The plaster in the Pavilions tural competitions, Phifer’s Water Court (88) is made entirely from natural project was built largely as minerals, including a lime he had initially conceived it. paste composed of rocks from Prior to Glenstone, Phifer the Ticino River (which flows designed the North Carolina from Switzerland through Museum of Art in Raleigh and Northern Italy) and Italian the expansion of the Corning marble dust. Museum of Glass in Corning, New York. Phifer—who –EB and VN worked early in his career At Glenstone we believe that the arts are essential for Charles Gwathmey, the See Also: to a just and humane society. The arts can serve as a architect of the Gallery at Bourgeois, Louise (22–23) shared language that bridges differences in culture, Glenstone, and later with Oldenburg, Claes (54) class, or ideology. Art is also an invitation to dream—to Richard Meier—established Pavilions, the (83) lose oneself in an aesthetic experience. Through our his own practice in New York Twombly, Cy (72) in 1997. His most notable program with Montgomery County Public Schools, we early commission was not a have hosted more than five thousand students from building, but a design for a grades four through twelve, many of whom had never new, sensuously curved LED visited an art museum before coming to Glenstone. In street lamp for New York keeping with our commitment to arts integration, we City. Although the Pavilions conduct extensive outreach and develop programming at Glenstone are primarily masonry structures intended not only with arts organizations, but also maker to sit like solid objects in spaces, community colleges, lifelong learning centers, the landscape, Phifer is best professional associations, and hospitals throughout the known for works that are Capital region. exceptionally light, almost weightless in appearance. All –EWR and MPR

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GS1581.indd 85 8/15/18 9:28 AM 86 Stainless Steel Architecture 87

Stainless Steel Stone

Popularized in the early twen- Argillite Carderock tieth century, stainless steel is a steel alloy incorporating Argillite refers to a type of Carderock is a mica-schist chromium and other elements, sedimentary rock composed quartzite stone native to which create a corrosion- of hardened clay particles, Montgomery County, Mary- resistant barrier that protects with color and composition land, and, along with Glen the surface from damage. varying depending on region. Road (the “Glen”), inspired the Stainless steel is used exten- The argillite installed around name “Glenstone.” The stone sively at Glenstone for its Michael Heizer’s Compression is incorporated throughout the elegance and durability. In Line, 1968/2016, and Collapse, museum’s art, architecture, contemplating the Pavilions’ 1967/2016, in and outside the and landscape: Andy Gold- design in particular, the Glen- Pavilions, was mined in the sworthy, known for working stone team discussed various southwest United States. The closely with nature and local grades and lusters of steel, artist chose this specific type materials, chose Carderock and debated percentages of of argillite for its color: the for the outdoor sculpture Clay nickel, chromium, and man- reddish-brown rock resem- Houses (Boulder-Room-Holes), ganese, ultimately settling bles the rusted patina of the 2007; Glenstone’s entrance on basic stainless steel for its weathering-steel sculptures, wall is made of Carderock, unparalleled longevity and its heightening a contrast in as are the steps embedded elemental beauty. texture while creating a feel- in the landscape leading to ing of expansiveness in their the bridle trail; and in the –TCe final installation. The use of parking groves, large slabs of this particular argillite is also Carderock designate individ- See Also: practical: it produces minimal ual spaces. The multifaceted Kelly, Ellsworth (44) dust and does not crumble—or use of this indigenous stone Ray, Charles (62) crunch—when walked on, fur- both highlights the native Pavilions, the (83) thering the sculptures’ sense landscape and demonstrates of quiet solidity. Glenstone’s commitment to coherent integration. –MLe –TCe and KB See Also: Heizer, Michael (40) See Also: Entrance (78) Goldsworthy, Andy (36–37) Stream restoration (108)

Stone

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Stainless Steel Stone

Stone

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Water Court Wood

Granite Terrazzo The Water Court is the Alaskan Yellow Cedar Ash Douglas Fir central courtyard within the Granite is a durable igneous A durable composite building Pavilions, accessible by a sin- Alaskan yellow cedar clads While terrazzo is the flooring Reaching an average mature rock made of feldspar, mica, material comprised of stone gle outdoor viewing platform the exterior of the Arrival material used for the viewing height of over three hundred and quartz, whose name chips set in a binder, such outside of Room 6. Lowered Hall, the Café, and the rails of galleries in the Pavilions, feet, Douglas fir is considered derives from its visible grains as concrete or epoxy, and into the topography and sur- the pedestrian bridges. It was there is one notable exception: one of the strongest timbers (the Latin word for grain is then honed and polished for rounded by architecture, the the wood of choice because Room 3, where artist On grown in the Americas. Due granum). Granite has been a smooth finish. Typically Court fully reveals itself only when it “silvers,” or gently Kawara specifically requested to its durability, natural color used as both a sculptural and fashioned with marble or when viewers first descend grays with age, it takes on a a wooden floor for the space variations, and resistance to architectural material for granite—Glenstone’s terrazzo the building’s main staircase. hue similar to the gray of the that would hold his painting decay, Douglas fir bark has centuries, utilized in the cre- is marble—terrazzo is often Growth, bloom, and decay Pavilions’ precast concrete trilogy, Moon Landing, 1969. been used for flooring in fac- ations of civilizations dating used for slab-construction are visible at close range, blocks. Even though Alaskan In collaboration with the tories and warehouses since as far back as ancient Egypt. flooring. Favored by modern and reflections of the sky, yellow cedar has the rich architect and Kawara’s estate, the nineteenth century, as a The most prominent use of architects such as Richard dragonflies in flight, wind, aroma that cedars are known Glenstone worked to select support for heavy industrial granite at Glenstone is in Neutra, Frank Lloyd Wright, weather, and time all register for (similar to raw potatoes) and source a light, wide- material and machinery. In the Gallery, where it is used and Charles Gwathmey, within its borders. While this and bears the cedar name, it planed ash for this purpose—a the Gallery, the exhibition for the building’s exterior terrazzo is employed in the garden may look composed, is in fact a variety of cypress hardwood known for being flooring consists of a mosaic cladding; it is also used for Pavilions to complement the the plant species spread and tree. Alaskan yellow cedar is strong yet flexible, and often of multicolored and multi- the pavers on which Richard building’s concrete and glass. colonize new locations as they a softwood, and is not used used in making bows, guitars, textured Douglas fir pieces, Serra’s Sylvester, 2001, and The Pavilion’s terrazzo is acclimate to the particular on surfaces that bear foot or and baseball bats. The change which were laid by hand. Felix Gonzalez-Torres’s Unti- unique in several ways: it was conditions found within the vehicular traffic. in materials marks a subtle In choosing this particular tled, 1992–1995, rest. In the designed and installed using glass enclosure. The Water shift as visitors cross the wood for the space, architect Pavilions, granite also lines minimal expansion joints, or Court anchors the experi- –LL threshold into this room—the Charles Gwathmey explained the edge of the Water Court. stainless-steel strips used ence of visitors as they move tallest in the Pavilions, and that the flooring should to control shifting; it is an between each of the rooms in See Also: one of the last projects the art- “always be archaeological. It’ll –TG unusually light color, with the Pavilions, cycling from art Entrance (78) ist oversaw personally before show the marks of where the very small aggregate; and it to architecture to landscape, Pavilions, the (83) his death in 2014. other exhibition walls used to See Also: has been polished to a matte again and again. Phifer, Thomas (84) be and [it will] develop its own Gallery, the (78) finish, rather than a high- –AR and VN patina . . . [becoming] part of Water Court (88) gloss, glass-like finish, as is –AG the story.” more typical. See Also: See Also: Kawara, On (44) –KB –LL Aquatics (94–95) Framed views (79–80) See Also: See Also: Ipe (90) Gallery, the (78) Pavilions, the (83) Pavilions, the (83) Gwathmey, Charles (81) Phifer, Thomas (84) Peter Walker and Partners (104)

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Water Court Wood

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Zinc

Hickory Ipe Maple Teak A chemical element found in the earth’s crust, zinc is An open-grain, fast-growing, Ipe, native to Central and A relatively inexpensive wood, Originally from the South mined and smelted for use as porous wood, hickory bends South America, is often maple is plentiful across the Asian rainforest, teak has a an industrial material. Due to easily yet is challenging to referred to as a Brazilian United States and charac- deep golden-brown color that, its abundance and afford- work by hand and to machine. walnut. Ipe’s durability, terized by its light color and when left unsealed, weathers ability, zinc was a popular Known especially for its longevity, and resistance closed pores. The diverse to a silver-gray patina. Long material for sculpture—espe- resiliency, woodworkers often to insects makes it a good materiality of this wood lends favored as a boat-building and cially statuary—in the 1800s; choose hickory for materials choice for exterior use, and itself to use in products as decking material due to its as a sculptural material it and tools that require heavy if left unstained the surface varied as musical instru- durability and resistance to requires little maintenance use, such as wagon wheels, will weather to a silver gray. ments—like the violin—and moisture, teak grew in pop- and develops a distinct matte skis, and hammer handles. Though dense and at times recreational equipment such ularity in the United States patina over time. Today it is Hickory is extremely durable hard to cut or nail into, ipe as bowling pins. Its use at and Europe as a residential often used in architecture, as and utilitarian, but more is known for its range of rich Glenstone is also diverse: the building material during the its lightness and malleability difficult to use than similar colors and its environmental Viewing Gallery (Room 7 in middle of the twentieth cen- can accommodate curves and woods (such as maple) due friendliness, as it does not the Pavilions) is entirely clad tury, and is thus particularly other complex shapes. At to its tough composition. The need to be replaced often. At in maple, as are the interiors associated with mid-century Glenstone zinc can be seen as base of the monumental bench Glenstone ipe is used in the of the Café and Arrival Hall. modern style. At Glenstone, cladding on a portion of the in the Viewing Gallery (Room Water Court platform, the The top portion of the eigh- teak is used both in the Gallery’s exterior, where its 7 in the Pavilions) is made of Patio deck, the Boardwalk, teen-foot-long Viewing Gallery Gallery and the Water Court surface gently contrasts with hickory. and the bridges. bench is made of maple as bench in the Pavilions. the building’s gray granite well. shell. Architect Charles –NSC –KB –KB Gwathmey selected zinc for –NSC this particular use, he said, See Also: See Also: See Also: for its “groundedness.” Puryear, Martin (60–61) Water Court (88) See Also: Pond (104) Pavilions, the (83) Water Court (88) –SE Puryear, Martin (60–61) See Also: Gallery, the (78) Water Court (88)

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Zinc

GS1581.indd 91 8/15/18 9:29 AM Landscape

Glenstone sits on approximately 230 acres of land in the Potomac River Valley, land that includes rolling hills, active streams, perennial meadows, and woodland pathways with mature specimen trees. The site is entirely maintained via organic means and methods, practices that support a wide range of local ecosystems, flora, and fauna.

Our approach to landscape design privileges the restoration of natural systems, and aims to create a balance between these systems and the museum’s manmade environments. Outdoor artworks are placed with special care and attention. The following pages provide a snapshot of various design features and principles that anchor Glenstone’s outdoor spaces, a description of processes used to develop and maintain the site, and commentary on a selection of plants and animals that you might encounter during a visit.

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Aquatics

Marliac White Water Lily Nymphaea 'Marliacea albida'

Of the nearly five hundred water lilies planted in the Water Court at the center of the Pavilions, a large majority are Nymphaea Marliacea albida, named for the French horticulturist Joseph Bory Latour-Marliac, who first hybridized the lily in 1880. Latour-Marliac supplied Claude Monet with lilies for his pond in Giverny, France, which became the subject of some of his most famous Impressionist paintings. The 'Marliacea albida' leaf spread spans twelve square feet and freely blooms from May to October, with each blossom lasting approximately three days. This aquatic flower brings balance to the Water Court’s aquatic ecosystem, absorbing nutrients and blocking harmful UV rays.

–JSa