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A volunteer with Clemson Hope, a student-led nonprofit, hands out Christmas presents to children at James M. Brown Elementary School in Walhalla, S.C., Dec. 8, 2017. Clemson Hope collected more than 1,100 gifts over the course of two months to give to local school children in Title 1 elementary schools. (Photo by Ken Scar)
Families, students, faculty, staff and administrators came together to celebrate the college, student achievement, and larger community.
Three Clemson University nursing students get a surprise serenade and roses from TigeRoar, Clemson’s all-male a cappella ensemble, as an early Valentine’s Day present, Feb. 10, 2017. (Photo by Ken Scar)
Volunteers with the Clemson University Student Veterans Association stack care packages at the Richard M. Campbell Veterans Nursing Home in Anderson, S.C., Oct. 21, 2017. This was the second year the CSVA delivered packages to veterans in the home. Each box contained a hand-written note from a member of the Clemson Family. (Photo by Ken Scar)
Clemson University senior Madison Williams, a graphic communications major, poses for a photo with her camera in Sirrine Hall, Feb. 6, 2018. (Photo by Ken Scar)
Retired U.S. Air Force Col. Bill Austin, 80, looks at the sky in a park near his home in Seneca, South Carolina, June 3, 2018. Austin, who flew F-4 Phantoms, was shot down on his 81st mission over North Vietnam in 1967. He was finally released on March 4, 1973, after enduring 1,986 days as a POW. (Photo by Ken Scar)
Actress Brook Sill signs the marquis poster at the premier of her movie, “The Letters That Guided Us,” in Clemson University’s Hendrix Center, Feb. 10, 2018. (Photo by Ken Scar)
Dr. Mark Spede, director of the Clemson Tiger Band, takes the band through a rehearsal from a tower next to their rehearsal field on the Clemson campus, Nov. 15, 2017. (Photo by Ken Scar)
A Clemson University student jogs on a track around an intramural field next to Memorial Stadium as the sun sets, Feb. 26, 2018. (Photo by Ken Scar)
U.S. Army Maj. Chris Bland, assistant professor of military studies at Clemson University, and his son Evan survey the scene before his promotion ceremony in Military Heritage Plaza, March 28, 2017. (Photo by Ken Scar)
Families, students, faculty, staff and administrators came together to celebrate the college, student achievement, and larger community.
•Title: The Bather
•Collection: Campus Artifacts, Art & Memorabilia
•Creator(s): Lipchitz, Jacques (French sculptor, 1891-1973, active in the United States) Male
•Date: 1962; 1923-1925
•Acquisition Date: 1962
•Culture: French
•Style/Period: Cubism
•Work Type: Statues
•Description: “The Bather statue by Jacques Lipchitz 1891-1973, gift of Harold D. Uris and Percy Uris. 1962.” Harold David Uris (1905-1982) Cornell 1925
•Percy Uris (1899-1971). In Sculpture Court, John M. Olin Library. For further information, see: olinuris.library.cornell.edu/history/lipchitz
•Donor: Uris, Harold D. and Uris, Percy
•Repository: Cornell University
•Repository Location: John M. Olin Library, Cornell University
Restored and revitalized, Song of the Vowels enjoys a newly-designed setting on the plaza between Olin and Uris libraries. Cornell University acquired the sculpture in 1962. Since that time, Song of the Vowels has been a fixture on the south end of Cornell’s Arts Quad, and a favorite gathering spot.
Sculptor Jacques Lipchitz created Song of the Vowels in 1931, and had it cast in a limited edition of seven copies, of which Cornell’s is the fifth. Other copies may now be found at Princeton University, UCLA, Stanford University, at Nelson Rockefeller’s Kykuit Gardens and at museums of modern art in Europe.
Born in Lithuania as Chaim Jacob Lipchitz, the artist spent much of his early career in Paris, working alongside Pablo Picasso and Georges Braque as a leader of the Cubist movement. The Cubistic attributes of his style are perhaps better displayed in the Bather, produced between 1923 and 1925, and also owned by the Cornell University Library.
Lipchitz’s Bather is a monumental study of geometric forms and intersecting planes that pivot around a central axis: the human bather’s torso. Bather was one of the last pieces Lipchitz created that can be considered strictly Cubist. Although his debt to Cubism is always apparent in his work, Lipchitz also drew inspiration from mythology, fantasy, and emotion to create expressive sculptural works. Song of the Vowels, created a few years later, represents a significantly different stage in Lipchitz’s oeuvre. While Bather is calm and carefully measured, Song of the Vowels is animated and energetic.
Lipchitz explained his inspiration for Song of the Vowels this way:
I had been commissioned to make a garden statue for Madame de Maudrot for her house at Le Pradet, in the south of France, designed by Le Corbusier. I was entranced by the location, a vineyard with mountains at the background, and since I was still obsessed with the idea of the harp, I decided to attempt a monument suggesting the power of man over nature. I had read somewhere about a papyrus discovered in Egypt having to do with a prayer that was a song composed only of vowels and designed to subdue the forces of nature … I cannot explain why the image of the harp and the Song of the Vowels should have come together except that both of them were in my mind at the same moment.
The design for Olin Library included a small sculpture court in an exterior alcove on the eastern side of the first floor, visible from the main reference area through a glass wall. As the building of Olin Library was nearing completion in 1961, a committee was charged with selecting sculpture for both the Olin Library sculpture court, and for the plaza between Olin and Uris libraries. The committee’s goal was to find modern sculpture of international renown. In January 1962, a major exhibition of Jacques Lipchitz sculpture came to Cornell’s Andrew Dickson White Museum of Art. With urging from art professor Jack Squier, the committee recommended the acquisition of Jacques Lipchitz’s work. Trustee Harold D. Uris, Class of 1925, and his brother, Percy, generously provided funds for both sculptures. Bather was installed in June of 1962, while Song of the Vowels came to its home at Cornell in October of the same year. Olin’s sculpture court has been replaced by a corridor that links Olin Library with the underground Carl A. Kroch Library, which opened in 1992.
After nearly 50 years as a landmark on the Cornell campus, concerns for the preservation and maintenance of Song of the Vowels led to an examination of the physical structure. Small holes had developed and were allowing moisture to penetrate the bronze and compromise the structure, so the sculpture was sent to the Williamstown Art Conservation Center for expert scientific analysis and conservation treatment. The planned return of Song of the Vowels provided an excellent opportunity to redesign the plaza between Uris and Olin Libraries, and landscape architect John Ullberg was hired to re-conceptualize the installation. He created a communal space that focuses attention on the sculpture, placed atop a limestone pedestal in a plaza that incorporates granite pavers, stone benches and new landscaping. The restored sculpture has now come back to its home, where it is appreciated by a new generation of Cornellians.
The Bather, too, has a new location. It now stands near the entrance to Olin Library, within sight of Song of the Vowels.
Sidonia von Borcke (1548–1620) was a Pomeranian noblewoman who gained the enmity of various relatives she sued, several prioresses at the local abbey, and court-appointed officials brought in to investigate. Tried for witchcraft, she was sentenced to death by beheading and subsequent burning. Posthumously, she has been portrayed as a femme fatale. Oscar Wilde’s mother translated into English a mid-19th century German novel about Sidonia, which William Morris printed in a limited edition at the famed Kelmscott Press. The Pre-Raphaelites became fascinated by her. Several created paintings based on the novel, the most famous of which was by Edward Burne-Jones, depicting the young Sidonia and her aged counterpart just before her execution.
Clemson University doctoral candidate A.D. Carson waits to defend his dissertation in the Watt Family Innovation Center auditorium, Feb. 24, 2017. Carson, a candidate in Clemson’s Rhetorics, Communication, and Information Design (RCID) Ph.D. program, produced a 34-track rap album titled “Owning my Masters: The Rhetorics of Rhymes and Revolutions” as opposed to the traditional written dissertation. (Photo by Ken Scar)
U.S. Air Force Maj. Brock Lusk, Clemson University assistant professor of aerospace studies, holds his 11-month-old daughter, Annabelle,on Clemson’s Military Heritage Plaza, Nov. 3, 2017. Lusk was adopted as a baby and he and his wife adopted Annabelle. (Photo by Ken Scar)
Clemson University doctoral candidate A.D. Carson defends his dissertation to a standing-room only crowd in the Watt Family Innovation Center auditorium, Feb. 24, 2017. Carson, a candidate in Clemson’s Rhetorics, Communication, and Information Design (RCID) Ph.D. program, produced a 34-track rap album titled “Owning my Masters: The Rhetorics of Rhymes and Revolutions” as opposed to the traditional written dissertation. (Photo by Ken Scar)
Bob, Sarah, Rose, Henrey and George Rettew at their home in Anderson, S.C. Dec. 20, 2017. (Photo by Ken Scar)
Families, students, faculty, staff and administrators came together to celebrate the college, student achievement, and larger community.
Former U.S. Marine Corps Staff Sgt. Andrew Lewis gives an interview in Clemson University’s Military Heritage Plaza in front of Tillman Hall. (Photo by Ken Scar)
Original Crystal Ball from the Wizard of Oz
1939, Metro-Goldwyn-Mayer
On loan from Jay ’77 and Eileen ’76, MBA ’78 Walker and The Walker Library of Human Imagination
The Oz crystal ball is a transparent hand-blown glass globe with an open neck at the bottom, similar to a dry lightbulb. It is not perfectly spherical but very slightly egg shaped. Experts have painstakingly authenticated the artifact by mapping slight imperfections (bubbles) in the glass, then matching them with images of the crystal ball as it appeared in the film.
Horace Priester (center) and his two stars at the premier of his movie, “The Letters That Guided Us,” in Clemson University’s Hendrix Center, Feb. 10, 2018. (Photo by Ken Scar)
Three Clemson University Reserve Officers’ Training Corps cadets chat with U.S. Marine Corps veteran Ray Crocker, 89, who fought in WWII, at the Richard M. Campbell Veterans Nursing Home in Anderson, S.C., Oct. 21, 2017. The cadets were there with the Clemson University Student Veterans Association delivering more than 200 care packages to veterans in the home. Each box contained a hand-written note from a member of the Clemson Family. (Photo by Ken Scar)
Patricia Klaren and her granddaughter Katie Lumpkin hold medals and a certificate for Klaren’s husband, Airman 2nd Class Charles William “Bill” Klaren, for his service in Vietnam, Feb. 16, 2017. Clemson University’s Air Force Reserve Officers’ Training Corps presented the awards after Maj. Brock Lusk, the unit’s assistant professor of aerospace studies, discovered Klaren never recieved the awards due to oversights by the Air Force. Klaren passed away in 2015. (Photo by Ken Scar)
Retired U.S. Army Col. Ben Skardon, 100, a beloved alumnus and professor emeritus of Clemson University, greets members of the Class of 2018 project committee during their project reveal, Dec. 7, 2018. (Photo by Ken Scar)
Students gather under the Clemson Univeristy Century Oak, the largest Bur Oak in South Carolina, July 3, 2017. (Photo by Ken Scar)
The woodcut shown illustrates torture methods used in Germany in 1527, including burning, hanging, beheading, disemboweling, breaking with the wheel, trussing, gouging out the eyes, cutting off the ear or hand, and flogging.
Clemson University student Autumn Brown, of Charleston, S.C., a sophomore studying environmental engineering and nonprofit leadership, gets a surprise pre-Valentine’s Day serenade from TigeRoar, Clemson’s all-male a cappella ensemble, while trying to study in the R.M. Cooper Library, Feb. 10, 2017. (Photo by Ken Scar)
Clemson University Reserve Officers’ Training Corps cadets practice combat carry techniques during a community outreach training day on the Clemson campus, March 16, 2017. (U.S. Army Reserve photo by Staff Sgt. Ken Scar)
•Title: The Bather
•Collection: Campus Artifacts, Art & Memorabilia
•Creator(s): Lipchitz, Jacques (French sculptor, 1891-1973, active in the United States) Male
•Date: 1962; 1923-1925
•Acquisition Date: 1962
•Culture: French
•Style/Period: Cubism
•Work Type: Statues
•Description: “The Bather statue by Jacques Lipchitz 1891-1973, gift of Harold D. Uris and Percy Uris. 1962.” Harold David Uris (1905-1982) Cornell 1925
•Percy Uris (1899-1971). In Sculpture Court, John M. Olin Library. For further information, see: olinuris.library.cornell.edu/history/lipchitz
•Donor: Uris, Harold D. and Uris, Percy
•Repository: Cornell University
•Repository Location: John M. Olin Library, Cornell University
Restored and revitalized, Song of the Vowels enjoys a newly-designed setting on the plaza between Olin and Uris libraries. Cornell University acquired the sculpture in 1962. Since that time, Song of the Vowels has been a fixture on the south end of Cornell’s Arts Quad, and a favorite gathering spot.
Sculptor Jacques Lipchitz created Song of the Vowels in 1931, and had it cast in a limited edition of seven copies, of which Cornell’s is the fifth. Other copies may now be found at Princeton University, UCLA, Stanford University, at Nelson Rockefeller’s Kykuit Gardens and at museums of modern art in Europe.
Born in Lithuania as Chaim Jacob Lipchitz, the artist spent much of his early career in Paris, working alongside Pablo Picasso and Georges Braque as a leader of the Cubist movement. The Cubistic attributes of his style are perhaps better displayed in the Bather, produced between 1923 and 1925, and also owned by the Cornell University Library.
Lipchitz’s Bather is a monumental study of geometric forms and intersecting planes that pivot around a central axis: the human bather’s torso. Bather was one of the last pieces Lipchitz created that can be considered strictly Cubist. Although his debt to Cubism is always apparent in his work, Lipchitz also drew inspiration from mythology, fantasy, and emotion to create expressive sculptural works. Song of the Vowels, created a few years later, represents a significantly different stage in Lipchitz’s oeuvre. While Bather is calm and carefully measured, Song of the Vowels is animated and energetic.
Lipchitz explained his inspiration for Song of the Vowels this way:
I had been commissioned to make a garden statue for Madame de Maudrot for her house at Le Pradet, in the south of France, designed by Le Corbusier. I was entranced by the location, a vineyard with mountains at the background, and since I was still obsessed with the idea of the harp, I decided to attempt a monument suggesting the power of man over nature. I had read somewhere about a papyrus discovered in Egypt having to do with a prayer that was a song composed only of vowels and designed to subdue the forces of nature … I cannot explain why the image of the harp and the Song of the Vowels should have come together except that both of them were in my mind at the same moment.
The design for Olin Library included a small sculpture court in an exterior alcove on the eastern side of the first floor, visible from the main reference area through a glass wall. As the building of Olin Library was nearing completion in 1961, a committee was charged with selecting sculpture for both the Olin Library sculpture court, and for the plaza between Olin and Uris libraries. The committee’s goal was to find modern sculpture of international renown. In January 1962, a major exhibition of Jacques Lipchitz sculpture came to Cornell’s Andrew Dickson White Museum of Art. With urging from art professor Jack Squier, the committee recommended the acquisition of Jacques Lipchitz’s work. Trustee Harold D. Uris, Class of 1925, and his brother, Percy, generously provided funds for both sculptures. Bather was installed in June of 1962, while Song of the Vowels came to its home at Cornell in October of the same year. Olin’s sculpture court has been replaced by a corridor that links Olin Library with the underground Carl A. Kroch Library, which opened in 1992.
After nearly 50 years as a landmark on the Cornell campus, concerns for the preservation and maintenance of Song of the Vowels led to an examination of the physical structure. Small holes had developed and were allowing moisture to penetrate the bronze and compromise the structure, so the sculpture was sent to the Williamstown Art Conservation Center for expert scientific analysis and conservation treatment. The planned return of Song of the Vowels provided an excellent opportunity to redesign the plaza between Uris and Olin Libraries, and landscape architect John Ullberg was hired to re-conceptualize the installation. He created a communal space that focuses attention on the sculpture, placed atop a limestone pedestal in a plaza that incorporates granite pavers, stone benches and new landscaping. The restored sculpture has now come back to its home, where it is appreciated by a new generation of Cornellians.
The Bather, too, has a new location. It now stands near the entrance to Olin Library, within sight of Song of the Vowels.
Clemson Tigers wide reciever Hunter Renfrow reads a “Clifford the Big Red Dog” book to elementary school children during a celebration of the Tigers Read! initiative at the Clemson Indoor Practice Facility, June 9, 2017. The initiative is sponsored by Dabo Swinney’s All In Team Foundation and has delivered customized Scholastic book packs to nearly 1,200 students across South Carolina that help prevent the decline in reading skills many students experience during summer months. (Photo by Ken Scar)