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According to artic.edu/aic: "Robert Smithson helped pioneer the Earthworks movement of the late 1960s and 1970s, which took as its subject the creation of art within and from the landscape. His Site/Nonsite pieces bring the physical properties and materials of the earth into the gallery, thereby extending the traditional confines of the exhibition space while creating entirely new parameters for contemporary sculpture. Chalk Mirror Displacement belongs to a series of works, created during 1968–69, that combines mirrors and organic materials called “Mirror Displacements.” In 1969 this piece was exhibited concurrently at the “Site” location where the materials originated—a chalk quarry in Oxted, York, England—and the “Nonsite” location, the seminal exhibition When Attitude Becomes Form at the Institute of Contemporary Arts in London. This simultaneous presentation is a rarity among Smithson’s Site/Nonsite works."
Abstraction: Non-Objective
If you found these two pieces buried in your backyard, how would you describe them to a friend over the phone? Compare and contrast: Which ceramic piece is realistic and which is abstract?
Ken Price
Ming, 1998
Ceramic
TSCPL Permanent Collection, 2008.030
In 2015, the Walker celebrates the 75th anniversary of its founding as a public art center dedicated to presenting and collecting the art of our times. Curated by the Walker’s executive director Olga Viso and guest curator Joan Rothfuss, the exhibition looks at 75 years of collecting at the Walker—a history distinguished not only by bold and often risk-taking choices but also acquisitions that have consistently breached the boundaries of media or disciplines.
Art at the Center: 75 Years of Walker Collections is on view from October 16, 2014 to September 11, 2016 in Galleries 4, 5, 6.
Curators: Olga Viso and Joan Rothfuss, with Andrew Blauvelt, Jill Vuchetich, and Mia Lopez
Susaku Arakawa 'The Given' (Das Vorgegebene), 1972, Galerie der Gegenwart (Museum of Contemporary Art), Kunsthalle, Hamburg, Germany
Curate This! 2014 title wall
Curate This! is a mentorship program where area high school students are instructed in the various skills needed to work in a gallery workplace.
Part classroom and part independent study, we are willing to work with instructors to monitor student progress and credit her/him for grading purposes.
Contact our museum educator, Betsy Roe, if you or someone you know is interested in participating in 2014: 785-580-4577 (or) eroe@tscpl.org.
Trudie Teijink
"They Drove Through the Night" (2005)
TSCPL Permanent Collection, 2006.35
Curate This! is a mentorship program where area high school students are instructed in the various skills needed to work in a gallery workplace.
Part classroom and part independent study, we are willing to work with instructors to monitor student progress and credit her/him for grading purposes.
Contact our museum educator, Betsy Roe, if you or someone you know is interested in participating in 2014: 785-580-4577 (or) eroe@tscpl.org.
Smithsonian Institution NATIONAL PORTRAIT GALLERY at 8th and F Street, NW, Washington DC on Sunday afternoon, 9 February 2014 by Elvert Barnes Photography
THE STRUGGLE FOR JUSTICE Permanent Exhibition
Paul Peck Gallery
Visit NPG / THE STRUGGLE FOR JUSTICE website at www.npg.si.edu/exhibit/struggle/index.html
Elvert Barnes FEBRUARY 2014 BLACK HISTORY MONTH Project
The Music Pack | Michael Berkley, Ron Van der Meer
Alfred A, Knopf, Inc., New York, 1994; Conceived, devised, devised, paper-engineered and produced by Van der Meer Paper Design, Ltd.
“The Music Pack is filled with musical discovery and diversion: with paper interments you can take out and play, with instructive pop-ups, and with 3-D models.”
The Music pack is not a history of music. It is rather, a look at the development of sound into music and at what musicians do when they sing and play.
Ron van der Meer was the first paper engineer to insist that adults could be as fascinated by pop-up books as children. His ingenious mechanics show graphic designers the full potential of paper engineering.
(Paper Engineering: 3D techniques for a 2D material, Natalie Avella)
DETAIL
Joanne Price
Palm Tree Story, 2010
Text adapted from Latin American Folktales: Stories from Hispanic and Indian Tradition
Paper, letterpress, engraving
Edition of 100
TSCPL Permanent Collection
The Palm Tree Story is a Columbian oral tale chronicling a little boy’s quest to help three men who had set out to find their fortunes. Along the way the boy encounters continual resistance and rejection from the three men, but he endures their trials and outwits an old woman with evil intentions. The boy guides the men to a fortuitous future despite their cruelty.
Fionnuala Hart Gerrity
Mythological Bestiary, 2010
Vegetable parchment, letterpress, watercolor, fabric
Edition of 12
TSCPL Permanent Collection
This book uses the medieval tradition of the bestiary to introduce mythological creatures from various cultures. I wanted to marry the aesthetic of illuminated manuscripts with more modern printmaking methods to create an edition that would maintain the feel of a hand written work.
DETAIL
74/150: J. Dawson, Dr. Karl Menninger, The Psychiatrist’s Psychiatrist, acrylic on board and canvas, c 1969, Gift of the Menninger Foundation
Yellow ochre makes yellow!
Recently we took a journey back in time to the Middle Ages, before the printing press, when books were written and illustrated entirely by hand. Dr. Tony Silvestri from Washburn University showed us how he’s keeping this complex craft alive today. Offered in conjunction with "Telling Stories", our current book art exhibit.
DETAIL
Women's dress. Ghana. Made by a seamstress named Essien, who made all of Laura's clothes. Laura wore this one on Sundays. On loan from Laura Dalrymple and Jim Harris
Smithsonian Institution NATIONAL PORTRAIT GALLERY at 8th and F Street, NW, Washington DC on Sunday afternoon, 9 February 2014 by Elvert Barnes Photography
THE STRUGGLE FOR JUSTICE Permanent Exhibition
Paul Peck Gallery
Visit NPG / THE STRUGGLE FOR JUSTICE website at www.npg.si.edu/exhibit/struggle/index.html
Elvert Barnes FEBRUARY 2014 BLACK HISTORY MONTH Project
Gerhard Hoehme 'Pusterlengo', 1974, Galerie der Gegenwart (Museum of Contemporary Art), Kunsthalle, Hamburg, Germany
Sabatini Art Gallery Collections Manager, Zan Popp, designed a template and put our volunteer Jerry, and fellow gallery staff member Trish Nixon, to work constructing storage boxes for our snuff bottle collection.
We recently got new drawers in collections storage, and these will help consolidate space as well as protect the bottles from clinking together another and causing damage.
Zan, clinking is an official archive term, right?
Dragon robe
ca. 20th century
Silk, gold and silver thread, mirror
74.10.1
The dragon is a symbol of male vigor, fertility, ultimate abundance, prosperity and good fortune. It is the symbol of the Emperor. The dragon, as a divine mystical creature, is the symbol of the natural world, adaptability and transformation.
Smithsonian Institution NATIONAL PORTRAIT GALLERY at 8th and F Street, NW, Washington DC on Sunday afternoon, 9 February 2014 by Elvert Barnes Photography
THE STRUGGLE FOR JUSTICE Permanent Exhibition
Paul Peck Gallery
Visit NPG / THE STRUGGLE FOR JUSTICE website at www.npg.si.edu/exhibit/struggle/index.html
Elvert Barnes FEBRUARY 2014 BLACK HISTORY MONTH Project
Accompanying Q&A text for Mitch Lyons' "B/W Coil"
Curate This! is a mentorship program where area high school students are instructed in the various skills needed to work in a gallery workplace.
Part classroom and part independent study, we are willing to work with instructors to monitor student progress and credit her/him for grading purposes.
Contact our museum educator, Betsy Roe, if you or someone you know is interested in participating in 2014: 785-580-4577 (or) eroe@tscpl.org.
Thomas McKenney, James Hall, Henry Inman
The History of the Indian Tribes of North America, 1844
Hand-colored lithograph
TSCPL Permanent Collection
Monchonsia, a Kansas chief, is shown here with red face and body paint and wearing a red headdress. For many American Indian tribes, the color red symbolized courage, strength, and honor.
The powdered color on Monchonsia’s skin is red ochre, a mixture of iron oxide, clay, and silica. An example of iron oxide can be seen in a display case at the front of the gallery. This mineral turns bright red when exposed to oxygen (think rust) and is found all over the world. It has been used by humans not only to adorn themselves but also to make art for at least 100,000 years.
Abstraction: Still-life
How does the artist use elements of art such as color, shape, and line to abstract each still life? Does the use of color change the mood of each piece?
Roland Bierge
Red Floral Vase with Flowers
Lithograph
TSCPL Permanent Collection, 1963.522
Abstraction: Non-Objective
If you found these two pieces buried in your backyard, how would you describe them to a friend over the phone? Compare and contrast: Which ceramic piece is realistic and which is abstract?
Richard Shaw
untitled, 1983
Cast porcelain ceramic
TSCPL Permanent Collection, 1984.030
American Red Cross Nurse uniforms on loan from the Kansas Capital Area.
We partnered this year to raise needed supplies for area veterans and sent holiday postcards to service members overseas.
Smithsonian Institution NATIONAL PORTRAIT GALLERY at 8th and F Street, NW, Washington DC on Sunday afternoon, 9 February 2014 by Elvert Barnes Photography
THE STRUGGLE FOR JUSTICE Permanent Exhibition
Paul Peck Gallery
Visit NPG / THE STRUGGLE FOR JUSTICE website at www.npg.si.edu/exhibit/struggle/index.html
Elvert Barnes FEBRUARY 2014 BLACK HISTORY MONTH Project
FROM LEFT:
Woman's dress. Sierra Leone. Cotton and embroidery. On loan from Tim and Jett Elmer. Woman's dress. Sierra Leone. Cotton and embroidery. On loan from Tim and Jett Elmer. Man's shirt. Sierra Leone. Cotton. On loan from Tim and Jett Elmer. Man's dress shirt. Liberia. Gift of Diana Hawks. Citywear is more formal and therefore embellished with intricate embroidery.
DETAIL
Skirt. Lake Turkana region, Kenya. Leather, fish vertebrae and scales from the Nile Perch. Gift of Gary K. Clarke.
DETAIL
Cynthia Colbert
Cultivating a Gardener, 2010
Wood, paper, leather, bone, mica, leaf, paint, thread
Unique book
TSCPL Permanent Collection
The book uses text from a '50s gardening book on the underside of mica pages with overlays of dried leaves from plants in my garden. The wooden cover is distressed and covered with layers of milk paint so that it feels like a book one would take into her garden.
Teresa Johnston Basketry
On display in the TSCPL Rotunda through June 2009
Check out Teresa Johnston's Flickr page
DETAIL
Carry baskets. Liberia, Loma. Gift of Diana Hawks.
Storage and “carry” baskets are woven from rice straw and liapa vines. The dyes can come from kola nuts (the orange color), dark dried leaves (brown), and indigo (deep blue). When one goes to market, one must bring one’s own bag. “Paper or plastic” is not available.
In 2015, the Walker celebrates the 75th anniversary of its founding as a public art center dedicated to presenting and collecting the art of our times. Curated by the Walker’s executive director Olga Viso and guest curator Joan Rothfuss, the exhibition looks at 75 years of collecting at the Walker—a history distinguished not only by bold and often risk-taking choices but also acquisitions that have consistently breached the boundaries of media or disciplines.
Art at the Center: 75 Years of Walker Collections is on view from October 16, 2014 to September 11, 2016 in Galleries 4, 5, 6.
Curators: Olga Viso and Joan Rothfuss, with Andrew Blauvelt, Jill Vuchetich, and Mia Lopez