Nelson-Atkins Museum Part I

The Nelson-Atkins Museum of Art ranks among the ten largest in the United States.  It opened in 1993 and sits on 20 acres in south Kansas City.  While the inner contents of the museum evoke a huge WOW factor, we found that the Donald J. Hall Sculpture Garden was equally impressive.  It is home to our nation's largest collection of monumental bronze sculptures.  We were gifted with a fabulous day of great weather and sky to walk paths covered with fallen leaves.  Along the way we were able to appreciate some pretty great sculptures.  Where possible, the notes posted next to each statue are reproduced here so that you may talk the same walk.  Imagine the smells and light wind that followed us.

The grounds appear expansive and open.  From this one spot you can see the Storage sculptures (standing along the wall this side of the people sitting on the bench), the Thinker (in the front grassy area) and one of four Shuttlecocks.  The…

The grounds appear expansive and open.  From this one spot you can see the Storage sculptures (standing along the wall this side of the people sitting on the bench), the Thinker (in the front grassy area) and one of four Shuttlecocks.  The fall color had almost past peak in some areas and gone in other areas.

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Auguste Rodin (1840-1917) was arguably the most celebrated sculptor of the 19th century.  His innovative modeling technique and unconventional subject matter earned him praise as the greatest sculptor since Michelangelo. Rodin’s provocative scu…

Auguste Rodin (1840-1917) was arguably the most celebrated sculptor of the 19th century.  His innovative modeling technique and unconventional subject matter earned him praise as the greatest sculptor since Michelangelo. Rodin’s provocative sculptures are highly expressive of the human body, and he sought to convey such universal conditions as love, longing, reverie and despair. “Rodin’s capacity to capture the human spirit in all its nuances was unrivaled,” said Myers. “He was one of the first artists to consider fragments and partial figures to be complete works of art capable of expressing even the most complex thoughts and emotions. The Thinker, shown here, is one of about 28 full size castings.  Rodin created The Thinker as part of commissioned work for The Gate of Hell.  The first monumental bronze casting was shown in 1904.

Claes Oldenburg (1929-2009) and Coosje van Bruggen (1942-2009) were commissioned to create a sculpture to a 'signature' piece for the museum.  They created the Shuttlecock.   Each Shuttlecut is over 19 feet high and 15 feet in diameter.&nb…

Claes Oldenburg (1929-2009) and Coosje van Bruggen (1942-2009) were commissioned to create a sculpture to a 'signature' piece for the museum.  They created the Shuttlecock.   Each Shuttlecut is over 19 feet high and 15 feet in diameter.  They are made of aluminum, fiberglass-reinforced plastic and paint. The story of how they came about is an interesting one. From the artist Claes Oldenburg himself, "Asked to create a large-scale project integrated into the setting of the museum, the team and I traveled to Kansas City, MO, in 1991, prepared to transform the vast imposing lawn that stretches before the massive neoclassical facade of the museum.  While visiting the galleries soon after our arrival, Coosje was attracted to the headdresses worn by Native Americans in painting by Frederic Remington, which led to our initial concept of large feathers scattered over the lawn as if dropped by the wing of a huge passing bird.  As we proceeded to research the site, we came across an aerial photograph of the museum grounds that reminded us of the layout of a tennis court.  We imagined the museum building as a net, with balls distributed over the grounds.  What if, as Coosje suggested, feathers were combined with the ball form to become a shuttlecock, a lyrical object with the ability to float, spin, fly, and land in many different ways?"  As one might imagine, there was a lot of debate in the community about the proposal!!

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This is Storage by Judith Shea, an American artist born in 1948.  She "initially worked as a fashion designer.  Later, she began making figurative sculptures, a radical idea in the avant-garde world of abstract art.  Storage includes …

This is Storage by Judith Shea, an American artist born in 1948.  She "initially worked as a fashion designer.  Later, she began making figurative sculptures, a radical idea in the avant-garde world of abstract art.  Storage includes a hollow coat and dress, motifs that Shea uses frequently in her work.  Shea stated, "They lean propped up against the wall essentially as if forgotten or stored.  The truncated clothing forms provided an essence - no extremities, no movement; it was a way to express the essence of human presence."  Cast in 1999 of bronze.

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"Henry Moore's sculptures reflect his affinity for natural forms such as rocks, bones, mountains and the human figure.  In Reclining Figure: Hand he simplifies the form of a reclining female figure, allowing her sensuous curves to echo those of…

"Henry Moore's sculptures reflect his affinity for natural forms such as rocks, bones, mountains and the human figure.  In Reclining Figure: Hand he simplifies the form of a reclining female figure, allowing her sensuous curves to echo those of a landscape.  Moore preferred to see his work sited outdoors against the backdrop of sky and earth in order to underscore its relationship to nature."  Henry Moore, English, 1898-1986, 1979 Bronze.

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"This simple, geometric forms of Joel Shapiro's sculpture suggest the human body in motion.  Untitled appears from certain views to have two upraised arms and one leg extended, as though taking a bow or preparing to do a cartwheel.  Its op…

"This simple, geometric forms of Joel Shapiro's sculpture suggest the human body in motion.  Untitled appears from certain views to have two upraised arms and one leg extended, as though taking a bow or preparing to do a cartwheel.  Its open form activates the surrounding space and invite the viewer to strike a similar pose.  Joel Shapiro, Amerian born 1941, cast in 1992 of bronze.

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"Jacques Lipchitz's Return of the Prodigal Son retains a disciplined angularity derived from his early investigation of Cubism.  It dates, however, from a later phase in his career, when he was occupied with organic forms and themes related to …

"Jacques Lipchitz's Return of the Prodigal Son retains a disciplined angularity derived from his early investigation of Cubism.  It dates, however, from a later phase in his career, when he was occupied with organic forms and themes related to the human condition."  This was his first interpretation of a biblical subjuct.  American, born in Lithuania, 1891-1973, cast in 1931 of bronze.

This Auguste Renoir sculpture is entitled The Large Bather but is also known as The Washer Woman. Renoir did not take up the art of shiculpture until very late in life and this sculpture is modeled after his famous The Large Bathers paintings. …

This Auguste Renoir sculpture is entitled The Large Bather but is also known as The Washer Woman. Renoir did not take up the art of shiculpture until very late in life and this sculpture is modeled after his famous The Large Bathers paintings.  I could not find an information note on this sculpture.  I was fascinated by how my perception of the woman changed so much from walking around her.

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"Peace on Earth incorporates themes and motifs that Jacques Lipchitz had been exploring for 20 years.  The knotted masses at the base represent prima materia, the raw  matter from which all things emerge.  Progressing upward are depic…

"Peace on Earth incorporates themes and motifs that Jacques Lipchitz had been exploring for 20 years.  The knotted masses at the base represent prima materia, the raw  matter from which all things emerge.  Progressing upward are depicted: the Lamb of God, angels, the Virgin Mary and ultimately the Holy Spirit in the traditional form of a dove.  Peace on Earth is an optimistic work expressing the transformation of flesh into spirit.  it broader underlying theme of metamorphosis occupied Lipchitz throughout his career.  Cast in 1969 of bronze.

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Henry Moore's Relief No. 1 "depicts the abstracted form of a woman standing with her weight on her left hip and her right knee jutting forward.  Her head, undulating shoulders and breasts are implied by geometric cubic forms.  Moore addres…

Henry Moore's Relief No. 1 "depicts the abstracted form of a woman standing with her weight on her left hip and her right knee jutting forward.  Her head, undulating shoulders and breasts are implied by geometric cubic forms.  Moore addressed this intentional ambiguity of form when he said that the 'non-logical, instinctive, subconscious part of [the viewer's] mind must 'play a part' in completing and understanding his work.  While most of Moore's sculptures are meant to be seen in the round, this relief sculpture was intended to be viewed against a wall."  Cast in 1959 of bronze.

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Of course, this tree, entitled Ferment, reminded me of our visit to Crystal Bridges.  Same sculptor, Roxy Paine, but a different tree.  "Rising 56 feet into the air with a branching system spanning 35 feet, Roxy Paine's silvery sculpture a…

Of course, this tree, entitled Ferment, reminded me of our visit to Crystal Bridges.  Same sculptor, Roxy Paine, but a different tree.  "Rising 56 feet into the air with a branching system spanning 35 feet, Roxy Paine's silvery sculpture acknowledges the power of human imagination and technological innovation.  Its organic, tree-like form also speaks profoundly to the dendritic (branching) structures of nature - from our bodies (torso, arms, hands, fingers) to vascular and neurological systems to river deltas and erosion pattern to botanical branching.  Ferment, one of more than 20 dendroid sculptures by Paine, investigates this complex interrelationship between nature and technology."  This stainless steel sculpture was made in the artist's studio in New York and shipped to the museum in pieces.  It too the artist and his team two weeks to join the pieces right on the lawn.

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This is a 50-by-50-by-50 foot glass triangle with a maze of interior glass walls conceived by Robert Morris.  Weighing in at more than 400 tons, the glass structure is almost unseen from a distance.   "Throughout his career, Morris ha…

This is a 50-by-50-by-50 foot glass triangle with a maze of interior glass walls conceived by Robert Morris.  Weighing in at more than 400 tons, the glass structure is almost unseen from a distance.   "Throughout his career, Morris has resisted making art that is locked into a single static form.  The Glass Labyrinth represents another twist on this idea: its appearance changes constantly with the movement of people within it and the flux of nature beyond"

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This Sheep Piece, by Henry Moore is one of four full-sized bronze castings. The sculpture is massive!  Moore wrote that the two forms were related, one being solid and passive, the other large but more active.  The placement of the two pie…

This Sheep Piece, by Henry Moore is one of four full-sized bronze castings. The sculpture is massive!  Moore wrote that the two forms were related, one being solid and passive, the other large but more active.  The placement of the two pieces suggest warmth and protectiveness.

This is Large Torso Arch, another Henry Moore sculpture. 

This is Large Torso Arch, another Henry Moore sculpture. 

Another Henry Moore sculpture, Reclining Connected Forms, 1969 of bronze.  "Although abstract, this sculpture is an example of Henry Moore's basic themes, that of mother and child.  The configuration of the sculpture suggests a maternal fi…

Another Henry Moore sculpture, Reclining Connected Forms, 1969 of bronze.  "Although abstract, this sculpture is an example of Henry Moore's basic themes, that of mother and child.  The configuration of the sculpture suggests a maternal figure containing a childlike form within her protective embrace.

"Large Totem Head is a bulbous, concave form divided into two halves by a vertical plane.  Frontal and iconic, it expresses a kind of elegant grandeur.  Large Totem Head evokes Moore's interest in the art of ancient and non-European cultur…

"Large Totem Head is a bulbous, concave form divided into two halves by a vertical plane.  Frontal and iconic, it expresses a kind of elegant grandeur.  Large Totem Head evokes Moore's interest in the art of ancient and non-European cultures.  The sculpture shares with Egyptian and African art its emphasis on stasis, reductive form and symmetry.  Cast in bronze by Henry Moore in 1981.

"Ursula von Rydingsvard (American of Polish descent, born 1942) sculpts intuitively and without drawings or models to guide her process.  She creates each sculpture directly from a mental image that evolves as she works.  The roughly hewn,…

"Ursula von Rydingsvard (American of Polish descent, born 1942) sculpts intuitively and without drawings or models to guide her process.  She creates each sculpture directly from a mental image that evolves as she works.  The roughly hewn, steeply vertical surfaces of Three Bowls bring to mind weathered, rocky cliffs.  Von Rydingsvard reinforces this impression by saturating the wood with black graphite, which silvers as it ages.  The artist stated, "I am drawn tot hat part of the world where man-made walls erode in a way where there is no longer a strict line between that which man has made and that which nature has made."  Made of cedar and graphite in 1990.

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"Tony Craig, born in 1949, is one of Great Britain's most esteemed artists.  His sculpture, Ferryman, may refer to the operator of a ferry boat, to the fluid body of water or to the molecular structure of matter itself.  Its amorphous form…

"Tony Craig, born in 1949, is one of Great Britain's most esteemed artists.  His sculpture, Ferryman, may refer to the operator of a ferry boat, to the fluid body of water or to the molecular structure of matter itself.  Its amorphous form extrudes and wraps in upon itself in an endless flow of energy to create a playful dialogue between interior and exterior spaces."  It was created in 1997 of bronze.

Turbo by Tony Cragg (English born 1949), refers to an energy-generating form like a spinning top or a turbine engine.  Tony Cragg explores the tilted form at rest, but its impression is one of intense dynamism.  While Turbo is cast in bron…

Turbo by Tony Cragg (English born 1949), refers to an energy-generating form like a spinning top or a turbine engine.  Tony Cragg explores the tilted form at rest, but its impression is one of intense dynamism.  While Turbo is cast in bronze (2001), lending it a machined quality, its form is irregular, as if comprised of discs whirling out of phase.  This idiosyncratic play between randomness and logical order characterizes much of Cragg's work.

In the distance you can see the George Segal composition entitled Rush Hour.

In the distance you can see the George Segal composition entitled Rush Hour.

This is George Segal's Rush Hour, cast in 1995 of bronze.  "This composition of anonymous figures evokes the deep isolation that can occur even when we are surrounded by others.  The bronze sculptures are made from casts formed by applying…

This is George Segal's Rush Hour, cast in 1995 of bronze.  "This composition of anonymous figures evokes the deep isolation that can occur even when we are surrounded by others.  The bronze sculptures are made from casts formed by applying plaster-dipped gauze directly onto the faces and clothed bodies of the models, who were friends and neighbors of the artist.  Segal says that each figural form is a distinct psychological portrait."  Segal was an American sculptor (1924-2000).

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The island in the middle of the reflecting pool is actually a statue!  It is Walter de Maria's One Sun / 34 Moons, a bronze and stainless steel, neon illuminated sculpture that "lives within time and timelessness.  The gold-leaf rectangula…

The island in the middle of the reflecting pool is actually a statue!  It is Walter de Maria's One Sun / 34 Moons, a bronze and stainless steel, neon illuminated sculpture that "lives within time and timelessness.  The gold-leaf rectangular Sun shines during the day, constantly reflecting the dance of actual sunlight and clouds overhead.  At night, the 34 Moons, encircled by silvery white neon, emit a mysterious glow.  Related to the cycles of day and night, the seasons and the heavens, One Sun / 34 Moons takes on cosmic and mythic proportions."

Mere hits of several of the moons below the water are captured.  At night, these moons light up.

Mere hits of several of the moons below the water are captured.  At night, these moons light up.

Notice the sculptures across the lawn?  They are shown in closer detail below.

Notice the sculptures across the lawn?  They are shown in closer detail below.

Magdalena Abakanowicz's Standing Figures  are instantly identifiable by their stark imagery.  The haunting power of these headless, standing figures invites many interpretations and the artist welcomes this approach.  Could they be aw…

Magdalena Abakanowicz's Standing Figures  are instantly identifiable by their stark imagery.  The haunting power of these headless, standing figures invites many interpretations and the artist welcomes this approach.  Could they be awaiting final judgement?  Do they suggest war victims?  Are they primordial beings in silent communication.?  Each figure is individually cast from a burlap-lined body mold."

Mark di Suvero's sculpture, Rumi "celebrates industrial constuction through its use of steel I-beams and the orange paint of San Francisco's Golden Gate Bridge.  The work is named for Jala al-Din Rumi, the 13th century Persian poet and spiritua…

Mark di Suvero's sculpture, Rumi "celebrates industrial constuction through its use of steel I-beams and the orange paint of San Francisco's Golden Gate Bridge.  The work is named for Jala al-Din Rumi, the 13th century Persian poet and spiritual leader whose writings inspired Sufism, a mystical for of Islam.  Some adherents of this religious order worship God in trance-like dances and are often called Whirling Dervishes.  The dynamic form of the sculpture suggests their ecstatic movement."  Sculpture created in 1991.

Unfortunately, we did not even get to walk around to the left side of the Sculpture Park.  We have left many great opportunities for next time.  Perhaps we shall return in the spring . . .

Laumeier Sculpture Park

According to Wikipedia, "Laumeier Sculpture Park is 105- acre open-air museum and sculpture park located in Sunset Hills, Missouri, near St. Louis and is maintained in partnership with St. Louis County Parks and Recreation Department It houses over 60 outdoor sculptures and features a walking trail."  I could not describe it better.  Enjoy the walk with us.  it was very hot and there is a lot of space between sculptures.  You will be more comfortable touring the grounds from your easy chair.

The Way, by Alexander Liberman, 1972-1980, eighteen salvaged steel oil tanks.

The Way, by Alexander Liberman, 1972-1980, eighteen salvaged steel oil tanks.

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Falling Man/Study (Wrapped Manscape Figure, by Ernest Trova, 1984, stainless steel.

Falling Man/Study (Wrapped Manscape Figure, by Ernest Trova, 1984, stainless steel.

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Tony Tasset's Eye, 2007, fiberglass, resin, oil paint, steel.

Tony Tasset's Eye, 2007, fiberglass, resin, oil paint, steel.

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Vito Acconci's Face of the Earth #2, 1988, natural concrete, gravel, reinforced rods, sod, earth.

Vito Acconci's Face of the Earth #2, 1988, natural concrete, gravel, reinforced rods, sod, earth.

Woodhenge, by Gigi Scaria, 2016.

Woodhenge, by Gigi Scaria, 2016.

Tom Huck's Bugs, 2014-2015, mixed media.

Tom Huck's Bugs, 2014-2015, mixed media.

This is Alpha by Beverly Pepper, 1974, steel.  Photography students are reminded that 'walking around your subject' can yield some surprising compositions.  So, being still a student of photography, I walked around this puppy a few times.&…

This is Alpha by Beverly Pepper, 1974, steel.  Photography students are reminded that 'walking around your subject' can yield some surprising compositions.  So, being still a student of photography, I walked around this puppy a few times.  I decided that I wanted to include the tree in the background as an important compositional element. Well, that did not work for me as the tree seemed hidden even though I got the trunk centered in the back opening.

So, I decided to make the tree a 'less important' element and put it aside.  Nope, too weak and distracting to boot.  But, I was succeeding in showing how open this sculpture appears.

So, I decided to make the tree a 'less important' element and put it aside.  Nope, too weak and distracting to boot.  But, I was succeeding in showing how open this sculpture appears.

Getting blisters on my big toe from walking around . . . take the tree out!  The photo is not about the tree ding bat!!!!  And the openings line up!  Whew! I decided I needed to find a statue that was functional.

Getting blisters on my big toe from walking around . . . take the tree out!  The photo is not about the tree ding bat!!!!  And the openings line up!  Whew! I decided I needed to find a statue that was functional.

This will work as a functional statue.

This will work as a functional statue.

The Palm at the End of the Parking Lot, by Robert Lobe, 1995, annealed hammered aluminum, stainless steel, dead walnut tree.

The Palm at the End of the Parking Lot, by Robert Lobe, 1995, annealed hammered aluminum, stainless steel, dead walnut tree.

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See below.

See below.

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Walking Roots, by Steve Tobin, 2002, cast bronze.

Walking Roots, by Steve Tobin, 2002, cast bronze.

George Greenamyer's Heritage Schooner for Debra Lakin, 1998, forged and fabricated steel, steel pipe, machined steel and mechanical parts, granite base and industrial enamel.  Magical subtraction by Tom allowed this sculpture to fly free.

George Greenamyer's Heritage Schooner for Debra Lakin, 1998, forged and fabricated steel, steel pipe, machined steel and mechanical parts, granite base and industrial enamel.  Magical subtraction by Tom allowed this sculpture to fly free.

La Libellule, by Arman, 1996, patinated bronze and gold leaf on steel.

La Libellule, by Arman, 1996, patinated bronze and gold leaf on steel.

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See below.

See below.

I read this twice.  Now I better understand why I flunked 'Appreciating Sculpture 101" in college.  I was simply looking for my weekly butt shot to maintain my illustrious membership in the Butt Photography Club!

I read this twice.  Now I better understand why I flunked 'Appreciating Sculpture 101" in college.  I was simply looking for my weekly butt shot to maintain my illustrious membership in the Butt Photography Club!

Functional Waterway for the Thirsty, by kindhearted plumber.

Functional Waterway for the Thirsty, by kindhearted plumber.

Ball? Ball? Wall? Wall?, by Donald Lipski, 1994, 55 marine steel buoys.

Ball? Ball? Wall? Wall?, by Donald Lipski, 1994, 55 marine steel buoys.

Robert Chamber's Sagabus, 2004, bronze with patina.

Robert Chamber's Sagabus, 2004, bronze with patina.

Bornibus, by Mark di Suvero, 1985-87, steel, cable.

Bornibus, by Mark di Suvero, 1985-87, steel, cable.

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St. Louis FD's Here for the Park Dog, 1999, steel, paint, water pipe.

St. Louis FD's Here for the Park Dog, 1999, steel, paint, water pipe.

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Donut No. 3, by Fletcher Benton, 2002, COR-Ten steel.

Donut No. 3, by Fletcher Benton, 2002, COR-Ten steel.

Ada's Will, by Jene Harrington, 1990, reinforced steel, concrete paint.

Ada's Will, by Jene Harrington, 1990, reinforced steel, concrete paint.

Flowers, by Mother Nature, 2017, soil, water, sunlight, bees.

Flowers, by Mother Nature, 2017, soil, water, sunlight, bees.

Untitled, by Donald Judd, 2004, concrete with steel reinforcements.

Untitled, by Donald Judd, 2004, concrete with steel reinforcements.

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Ricardo Cat, by Niki de Saint Phalle, 1999, urethane skin on steel, ceramic tile, stained glass mirrors, stones, in epoxy grout, silicone grout.

Ricardo Cat, by Niki de Saint Phalle, 1999, urethane skin on steel, ceramic tile, stained glass mirrors, stones, in epoxy grout, silicone grout.

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Crystal Bridges Part II

The outside and grounds of Crystal Bridges Museum of American Art are worth a trip all of its own.  Go inside and it is just icing on the cake.  Lots of icing!  Rich creamy icing!!  The space is open, light and easy to maneuver.  There is a wonderful restaurant with a brunch served on Sundays (table cloth included).  There are well placed sculptures, special exhibits and places to rest.  At this time the special art exhibit is a good representation of the work of Stuart Davis. Our photographs of the paintings could be boring, however, for some it will provide a sense of the place. Photographers are welcome at the Museum but tripods are not encouraged, except outdoors.  The use of flash is prohibited (as usual in museums).  We hope you enjoy your visit to the Museum.

Section of the Museum devoted to the Stuart Davis Exhibition.

Section of the Museum devoted to the Stuart Davis Exhibition.

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This mobile by Alexander Calder (1898-1976) is a classic example of Calder's standing mobiles.  Made of painted sheet metal, Trois noirs sur un rouge (Three Blacks over Red), 1968, achieves graceful balance in motion.  Calder, ''challenged…

This mobile by Alexander Calder (1898-1976) is a classic example of Calder's standing mobiles.  Made of painted sheet metal, Trois noirs sur un rouge (Three Blacks over Red), 1968, achieves graceful balance in motion.  Calder, ''challenged the traditional definition of sculpture as three-dimensional mass, creating works of art made from metal rods and biomorphic sheet metal planes that move with the air in varied and spontaneous paths."

This painting, Pecos Escarpment, is an egg tempera on cradled panel by Alexandre Hogue (1898-1994).

This painting, Pecos Escarpment, is an egg tempera on cradled panel by Alexandre Hogue (1898-1994).

This is a painting by George Copeland Ault (1891-1948).  It is an oil on canvas.  The information on the side tells the viewer, "Daylight at Russel's Corners expresses the melancholy and anxiety felt my many Americans following the Great D…

This is a painting by George Copeland Ault (1891-1948).  It is an oil on canvas.  The information on the side tells the viewer, "Daylight at Russel's Corners expresses the melancholy and anxiety felt my many Americans following the Great Depression, which was further amplified by the Second World War.  The precise line and geometry in this work convey a sense of order.  The phone lines, frosted in ice, are the only connection to the outside world - potentially delivering chilling news from the war.  The quietness of the scene, coupled with the precise, hard-edge style, helps to make this image feel frozen in time."

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This Lobster Wars, by Bo Bartlett (1955-) is an oil on linen depicting the sometimes violent conflicts that arise between lobster fishermen who have, for generations, squabbled over fishing territories.  His allusions to pirates and Vikings lin…

This Lobster Wars, by Bo Bartlett (1955-) is an oil on linen depicting the sometimes violent conflicts that arise between lobster fishermen who have, for generations, squabbled over fishing territories.  His allusions to pirates and Vikings link these present-day sea farmers to historically fierce warriors of the high seas.

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This is an untitled piece made of bronze wire by Ruth Asawa (1926-2013).  The side description states: "At the center of the circular shape, a knot of wrapped wires extends outward, eventually unraveling into spikey forms that look similar to t…

This is an untitled piece made of bronze wire by Ruth Asawa (1926-2013).  The side description states: "At the center of the circular shape, a knot of wrapped wires extends outward, eventually unraveling into spikey forms that look similar to tree branches.  As a child during World War II, Ruth Asawa was interned at Rohwer War Relocation Center in Desha County, Arkansas.  Much of her artwork was influenced by this imprisonment and marginalization.  Untitled, with its organic appearance, nod to the fencing that surrounded the internment camp, giving the lovely object a subtle sinister edge."

Evan Penny, born in 1953, uses silicone, pigment, hair, fabric and aluminum to create Old Self: Portrait of the Artist as He Will (Not) Be.  Variation #2. "Larger than life-size and hauntingly realistic, Evan Penny's self-portrait marries tradi…

Evan Penny, born in 1953, uses silicone, pigment, hair, fabric and aluminum to create Old Self: Portrait of the Artist as He Will (Not) Be.  Variation #2. "Larger than life-size and hauntingly realistic, Evan Penny's self-portrait marries traditional sculpting processing with cutting-edge technology.  using a 3-D scanner, Penny made digital scans of his body, created clay form based on the scans, and then manipulated these clay forms by hand.  He cast the clay version in resin before adding pigment and other elements - such as his own hair - to the sculpture's silicone surface.  In this work, Penny attempts to transform the fleeting moment captured by photography into three dimensions.  The artist suggests that we imagine ourselves through the lens of photography, even though we live our lives in three dimensional space. . . he reimagines himself as an elderly man.  By making himself look decades older, he created a self-portrait that manages to be both realistic and make-believe."

As mentioned earlier, there were lots of places to sit and rest.

As mentioned earlier, there were lots of places to sit and rest.

We had way too much fun!!

We had way too much fun!!

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Andy Warhol (1928-1987) Self-Portrait with Camouflage made of silkscreen inks and synthetic polymar on canvas.

Andy Warhol (1928-1987) Self-Portrait with Camouflage made of silkscreen inks and synthetic polymar on canvas.

Another Untitled by Ruth Asawa, this time made of iron wire.  The cage-like organic shape binds and encloses smaller forms within the larger composition.  The negative space between the wires creates volume.  The sculpture evokes fenc…

Another Untitled by Ruth Asawa, this time made of iron wire.  The cage-like organic shape binds and encloses smaller forms within the larger composition.  The negative space between the wires creates volume.  The sculpture evokes fencing materials surrounding internment camps.  Diane and I spent some time seeking a perfect balance of the cages and their shadows.

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I loved this painting!  It was done by Arthur Dove (1880-1946) and is titled, Moon and Sea No. II.  Dove describes the storm he was hoping to express, "It is now 3:45 a.m. in the midst of a terrific gale and we are anchored in the middle o…

I loved this painting!  It was done by Arthur Dove (1880-1946) and is titled, Moon and Sea No. II.  Dove describes the storm he was hoping to express, "It is now 3:45 a.m. in the midst of a terrific gale and we are anchored in the middle of Manhasset Bay, held by a 3/4 inch line run through a shackle to a mooring.  Have been trying to memorize this storm all day so I can paint it.  Storm green and storm gray."  Dove is considered America's first abstract painter, striving to make the basic processes of nature visible in his work.

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Reflections of the ceiling ribs on the windows of the restaurant were intriguing.  I tried to figure out how they were created and then painted the landscape outdoors.  Lunch was excellent!

Reflections of the ceiling ribs on the windows of the restaurant were intriguing.  I tried to figure out how they were created and then painted the landscape outdoors.  Lunch was excellent!

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This is Harriet Whitney Frishmuth's (1880-1980) The Bubble, made of bronze and glass in 1928.

This is Harriet Whitney Frishmuth's (1880-1980) The Bubble, made of bronze and glass in 1928.

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Crystal Bridges TD (225 of 41).jpg
Mary Ann Currier painted this oil pastel on board entitled Carolina Apples.  She is known for using commonplace subjects in her contemporary still lifes.  In this painting she emphasizes the fleeting nature of existence by picturing music,…

Mary Ann Currier painted this oil pastel on board entitled Carolina Apples.  She is known for using commonplace subjects in her contemporary still lifes.  In this painting she emphasizes the fleeting nature of existence by picturing music, food and other transient and sensual experiences.  The artist was born in 1927.  The painting was done in 1985.

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Crystal Bridges TD (229 of 41).jpg
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Abstraction, by Georgia O'Keefe (1887-1986).  It is made of white-lacquered bronze.

Abstraction, by Georgia O'Keefe (1887-1986).  It is made of white-lacquered bronze.

George Segal (1924-2000) sculpted these figures with plaster.  They represent the Americans waiting in line for public assistance during the Great Depression.  The title, Depression Bread Line, suits the intent of evoking the emotional ten…

George Segal (1924-2000) sculpted these figures with plaster.  They represent the Americans waiting in line for public assistance during the Great Depression.  The title, Depression Bread Line, suits the intent of evoking the emotional tenor of how it felt to live during this time.  A bronze cast of this original sculpture marks the Roosevelt Memorial in Washington, D.C.

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We could not leave well enough alone.  We suggested that Tom stand at the end of the line.

We could not leave well enough alone.  We suggested that Tom stand at the end of the line.

Tom created an image that adds him to the 5 men in line.  Nicely done considering he did not have an old trench coat.  There is one other subtle difference that I noticed.  Tom is at the end of the line and it is his first time there.…

Tom created an image that adds him to the 5 men in line.  Nicely done considering he did not have an old trench coat.  There is one other subtle difference that I noticed.  Tom is at the end of the line and it is his first time there.  He is not quite as beaten down and discouraged as the other men.  He is the optimist in line that he is every day.  His shoulders are straight and his head held high.

This was shown at the start of the special Stuart Davis exhibition.  I really enjoyed the collection of about 150 or so paintings.  I could back again and walk the area several more times.

This was shown at the start of the special Stuart Davis exhibition.  I really enjoyed the collection of about 150 or so paintings.  I could back again and walk the area several more times.

Electric Bulb, by Stuart Davis (1892-1964).  Davis was very interested in modern European art and spent decades investigating the many ways that French artists, in particular, simplified their compositions.  Here the artist used a modern i…

Electric Bulb, by Stuart Davis (1892-1964).  Davis was very interested in modern European art and spent decades investigating the many ways that French artists, in particular, simplified their compositions.  Here the artist used a modern item, for its time, and its protective wrapper to create a bouncy, almost cartoon-like image that is pushing the definition of abstraction.  It was noted that in 1924, the date this painting was created, 30% of American homes still did not have electricity.

We hope you have enjoyed your tour.  If you have a chance and are in the area, spend a day at this museum.  Admission is free.