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�FIRST LADY HILLARY RODHAM CLINTON
REMARKS FOR THE OPENING OF THE SCULPTURE EXHIBITION
THE FIRST LADIES GARDEN
THE WHITE HOUSE
OCTOBER 11, 1994
C
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Sculpture is probably my favorite art form, and not simply
because my first date with my husband was in the sculpture garden
of a museum.
I have always felt that art in general -- and sculpture in
particular -- has an enormous capacity to provoke our
imaginations. And I believe that where ~here is imagination,
there is hope. Where there is creative expression, there is
potential for human progress.
As someone once said, "Art is not a thing, it's a way."
[Elbert Hubbard, writer and publisher]
Looking at these wonderful pieces assembled in this garden,
we see the extraordinary diversity and richness of contemporary
American sculpture. And we see reflections of ourselves and our
society over the last 100 years.
The idea for this exhibition was inspired in part by First
Lady Jacqueline Kennedy, who felt so strongly that art should
have a place in our everyday lives. It's really in honor of her
that these sculptures are being displayed here, in the First
Ladies Garden she created.
Now some of our finest American art will be available to an
entirely new audience -- the thousands of visitors who pass
through the White House each day, all of whom will be able to
share in the aesthetic beauty and emotional power of these
sculptures.
. _A
~~
.
That is extremely impo~o the President and to me. If
we believe that art is not eni n -- that it has great power to
evoke in each of us a deepe
derstanding of our own lives and
of the world around us -- then it is essential that we make art
accessible to as many people as possible.
I've been lucky enough in my life to have lived in places
where great art was close at hand. I grew up in Chicago, I went
to college in Boston, and when I was in law school at Yale the
university art gallery was a treasure of contemporary American
sculpture.
It was in New Haven that I first saw works by some of the
1
PHOTOCOPY
HRC HA~D\IVR!T!NG
�sculptors represented here today [Calder•s 11 Cat, 11 Manship•s
11 Spear Thrower, II
Nevelson• s 11 Atmosphere and the E_nvironment,
11
Lachaise•s Acrobat, 11 were all part of Yale•s permanent
collection when you were there] .
II
Through these experiences I have come to appreciate the joy,
the inspiration, the challenge one feels when looking at
sculpture. And I hope that visitors to this exhibition will
derive the same pleasure as I have over the years.
Finally, I think of this exhibition as a celebration of the
sculptors themselves. Most of us don•t have the courage it takes
to be an artist -- the courage to unveil one•s most profound
emotions and visions to outside scrutiny.
By sharing their feelings and their ideas with. us, these
artists not only add beauty to our surroundings, they keep us
from getting too sedate, too numb, too inured to the complexities
and challenges of life.
So on behalf of the President, I 1 d like to thank all of the
artists in our country who contribute so much to the richness of
our culture. I•d like to thank supporters who help ensure that
art reaches more and more of our people. And I•d like to thank
all Americans for allowing us· to display this exhibit in the
White House, which is, in fact, the people•s house.
Thank you very much.
###
2
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�revised draft 8/25/94
PRESIDENT WILLIAM JEFFERSON CLINTON
NATIONAL ARTS AND HUMANITIES MONTH
A PROCLAMATION -- 1994
Nothing is more important to preserving our sense of
community and preparing for our future than our artistic and
humanistic traditions. In a world too often beset by hatred and
incivility, the arts and humanities empower us to celebrate our
individual identities while reminding us of the values and
commitments that unite us as Americans.
While we are too rich and too diverse a nation to have an
official American culture, we have a powerful tradition of .
artistic expression and intellectual inquiry that honors every
one of us equally. Through art, music, literature, history, and
philosophy, we preserve and pass along, from generation to
generation, our most cherished images, ideas, and beliefs.
For more than two centuries, the arts and humanities have
helped Americans transcend political, religious, racial, and
ethnic 'divisions by engaging us in the common task of
interpreting and expressing the meaning of human experience. When
we read each other's stories, discuss each other's ideas, and
feel each other's emotions through dance, painting, and song, we
come to understand the richness and texture of each other's
lives. In so doing, we gain a greater appreciation for the
breadth of human thought and experience. And we gain a more
profound sense of. our common purpose as Americans.
But if the arts and humanities are essential to appreciating
and preserving our culture, they are also essential to our growth
and rene~al as a nation. For it is only by deepening our ..
understanding, training our imaginations, and enlarging our
capacities to see and to feel that we can envision a better
future for ourselves, our communities, and our nation.
In the new and complicated century that awaits us, we will
depend even more on our artists and humanists to help us discover
the roots of our deepest beliefs and gain a vision of our most
inviting possibilities.
The month of October has been designated National Arts and
Humanities Month and I urge all Americans to celebrate the
artistic and intellectual ·freedoms we enjoy and to reflect on the
profound role they play in refreshing and renewing our great
nation every day.
###
�FIRST LADY HILLARY RODHAM CLINTON
COMMENCEMENT ADDRESS
DUKE ELLINGTON SCHOOL FOR THE PERFORMING ARTS
WASHINGTON, DC
JUNE 15, 1994
DRAFT
Thank you, Eli and Niesha [Nee-sha], Mrs. Cafritz, Principal
Wilson, Superintendent Smith, board members, administrators,
faculty, alumni, families, and friends who have gathered here.
But most of all, thank you to the graduates of the Class of '94
for enabling me to be part of your celebration.
On behalf of the President I also bring congratulations to
all of you on the 20th anniversary of the Duke Ellington School,
which started out as an intangible vision and now is one of the
concrete success stories in American education.
And I sincerely hope that today's editorial in The
Washington Post will galvanize the community here to help bolster
the finances of this school so that you can flourish and thrive
for many decades more.
As you probably know, I live with a couple of aspiring
performing artists. Sometimes I think my husband would just as
soon be a professional saxophonist as President. And my daughter
is a fanatic about ballet.
But sharing a house with a President who dreams of playing
like John Coltrane and a daughter who dreams of dancing like
Margot Fonteyn is not the only reason I feel a special connection
to this school.
One of the great privileges of living in the White House is
that you sometimes have wonderful artists performing in your own
backyard, and that includes students from Ellington. Just this
week the choir sang at the festivities honoring Emperor Akihito
of Japan, and we were all grateful to have such beautiful voices
in our midst.
By now, most of you have discovered the power of human hope
and imagination. Where there is imagination, there is hope. Where
there is potential for creative expression, there is potential
for human progress.
I'm a firm believer that all forms of art -- music, dance,
literature, painting, sculpture, poetry and all the rest -- have
an enormous capacity to affect social change and make our world a
better one.
Art is not benign. Even those of us who can't sing on key
and can barely draw a stick figure have felt our emotions soar at
�------------------
hearing a favorite song. We all have felt our senses stirred by a
poem, a dance, or a painting. We all have had our ideas and
attitudes tested by a play, a film, a trip to the museum.
For the past four years you've had the chance to explore
your own potential for creative expression, your own capacity to
inspire, cajole, provoke, enliven, and excite the world around
you. You have learned to articulate a whole range of ideas and
values and emotions in ways that those less gifted can't even
imagine.
Now, as you graduate, you can reflect on the hard work, the
discipline, the sacrifices, risks and responsibilities that made
this day possible. You earned a rare opportunity to attend one of
the finest -- and most rigorous -- high schools in the nation,
and you worked hard to take advantage of that opportunity. Now
the question is what you do with all of that.
Romare [Ro-mehr] Bearden, one of America's most respected
painters, said "art is the soul of a people." Whether we are
young or old, rich or poor, black, white, green, or blue, the
arts allow us to share a universe of emotions. They allow us to
explore diverse cultures and transcend our differences. They
awaken our senses, which otherwise might be numb to the beauty
and the pain of the world around us.
And that's true whether the artist is Queen Latifah or Van
Gogh.
As you look to the future, you'll find that three things
distinguish artists from others. First, artists are willing to
make sacrifices. That's something you already know because you
have lent extraordinary time and energy to pursue your dreams.
Second, artists are willing to take risks. They are willing
to expose their ideas, their vision, their emotions to outside
scrutiny in ways that other people are not. So, it takes courage
and guts to be an artist. Just as it took courage and guts for
you to compete for admission at Ellington and to subject your
work to the high standards of the faculty here.
Robin Smith [president of the student body] talked recently
about the hard lessons she had learned here. She said: "I've
learned to accept criticism. If you don't learn that, you
shouldn't go on with your career." And I might add: Being open
to criticism means being open to learning and growing.
The third thing that distinguishes artists from others is
that, perhaps because their work reflects "the soul of the
people," they have an added responsibility to make a positive
difference in society. And I'd like to talk about that for a
minute.
2
�For your generation, the future holds great promise and
great peril. Great peril because the world still has too much
poverty, too much racism, too much violence, too much
indifference. But great promise because there are 113 young men
and women in this room -- and as many parents, grandparents,
aunts, uncles, brothers and sisters standing behind them -- who
have what someone once called "a hard-earned optimism."
That means a vision of life that is based on tough realities
but infused with hope. An attitude about one's own ability to
take responsibility and contribute to society no matter what
one's background or personal circumstances. An attitude that
says: Never give up no matter how many obstacles are thrown in
your way.
Just in the past month, on a global level, we have been
reminded of the power of imagination and hope. And of the meaning
of sacrifice, risk, and responsibility. Both the election of
Nelson Mandela as President of South Africa and the 50th
anniversary of D-Day offer important lessons as we try to chart
our own futures here in America.
I had the incredible privilege of attending Nelson Mandela's
inauguration in a country divided for three centuries by
unspeakable racial hatreds. And there was the new president,
Nelson Mandela, who had spent 27 years as a political prisoner
during apartheid, inviting his three jailers to his Inaugural
ceremony.
It was an extraordinary act of humanity. And it was further
evidence that hope gets you somewhere, where resignation and
bitterness do not.
Earlier this month, the President and I traveled to Europe
to celebrate the 50th anniversary of the military campaigns that
led to an end of World War II. A· half century ago may seem like
ancient history to some of you. But hopefully the sacrifices of
those who fought in that war struck a nerve if you watched some
of the ceremonies on television . . . or heard the voices of
veterans who risked their lives there . . . or saw photos or
footage of the thousands of graves of American soldiers who died
in Europe.
Those who gave their lives on those beaches in Italy and
France did so because they had a faith in the future of their
country. They believed in the promise of democracy and freedom.
And they sacrificed themselves so that younger generations could
live freely and peacefully for the next 50 years.
Today, in a very complex world, on the eve of a new century,
it's up to us -- and you-- to renew those values and help us
meet new and different challenges.
3
�- - - - - - - - - - - - - -
- - - - - - - - - - - - - - -
For all the talk about the younger generation being adrift,
being a Lost Generation, a Generation X, I believe you have the
capacity to do great things if you want to. I believe you can
help lead us into the future, whether or not you choose careers
as performing artists. And I believe that you believe in
yourselves as well.
I believe that because I know that some of you had to spend
an hour or more in transit just to get to your classes . . . I
know you often arrived early and stayed late for rehearsals . . .
I know you put other interests on hold to excel at Ellington. I
know you did whatever it took to be able to perform in "Iolanthe"
[I-oh-lan-the] or "Malindy Sings" or to get your paintings into a
Washington art exhibit or to finish writing a play.
The point is: You have imagination. You have hope. You have
made sacrifices, taken risks, and shown responsibility. You have
all the tools and experiences to shape your own lives, the lives
of those around you, as well as the life of our nation.
But you have to keep going. You have to keep engaging. You
have to keep participating. You have to keep expressing yourself.
You have to be willing to take some knocks along the way.
Wynton Marsalis says life is like playing the blues. So in
ending, let me pass on his advice: "Always bring your horn . .
Know the tune . . . . Learn to listen with empathy . . . .
Understand your role in the ensemble . . . . And, most of all,
enjoy playing."
Thank you very much.
###
4
�.
\
FIRST LADY HILLARY RODHAM CLINTON
REMARKS ,FOR THE OPENING .OF THE SCULPTURE ExHIBIT.ION
THE· FIRST LADIES GARDEN
'
THE WHITE HOUSE
OCTOBER 11,.1994 ,
DRAFT.
l
(Ac~nowledgements]
, ·.I
.·Sculpture is probably IriY favorite ·art form,· and not simply
because my·first date .with my husband was in the sculpture garden
.of a museum.
I·have always felt tha~ art in general
and ~culptu:te in
. particular -- has an enormous capacity to provoke our
· _·
~imaginatio-ns. And .I believe that where there' is imagination,
there is hope. Where there is creat'ive e}cpress.ion,· there ~s .
potential .for ·human progress.
·
" ·As
som~one
once said 1 _ 11 Art is not a thing 1 • it's a way .. 11
.. Looking at t1)eseworiderful.pieces assembled.in this garden,
w~ see the '·extraordinary diversity and richness. _of contemporary
Ainerican sculpture. And ·we see. reflecti.ons of ourselves and .our ..
~ociety over the last 100 years.
·
The ide~ fdr.this exhibiticin was inspired in part b~ First
Lady Jacqueline Kennedy, who felt so st.rongly that art. should
have a place in our ever~day lives. ft's ~eally'in honor of her
that these sculpttires ~re being displayed h~re, ·in the First
Ladies Garden she creat«fd.
'·
·
Now these. works ·will be availa~le to an entir~ly new·.
·audience --:-the· thousands of visitors, who pass through the White
. House each day I all; of whom w.,ill . be able to ~hare in the
aesthetic beauty and emotional power of these· sculptures.
That is ex:tremely. important· to' the President and. to me~ Ifwe believe that art is,not benign --' that it has great power to
ev:oke in each o,f us a deeper understanding qf ·our .·own .lives and.
of.the world arou:hd us ...:._then it is essential that we make.art
acces~ible to as many ~epple.as possible.
.
..
I'Ve ·been. lucky 'enough in my life 'to have li~ed in plcl:ces
. where great. art ,was ·Close at . hand .. I grew. u~ in Chicago I 'I went
to college in Boston,· and when..I was .in law school at 'Yale t:he
universit·y. art--' gallery was a treasure df contemporary American
.. sculpture.
1
)
�It was in New Haven that I first saw works-by some of. the
sculptors represented here today (Calder's "Cat," Manship's
·"Spear Thrower," -Nevelson' s "Atmosphere and' the Environment,"·
Lachaise's '"Acrobat,n were all part of Yale's permanent
collection when you were. there].
~
, Through' these experiences I have come to appreciate·· the 'joy,
the inspiration, ·the challenge one feels when. looking at_
sculpture · And I hope that visitors to this exhibition .will
deriv~ the,.sams pleasure as I have over the ~ears.
I
.
.
.
•
'
Finally, I think of this exhibitipn as a celebration of the
sculptors thenisei ves. Most· of us don't have the ·courage it takes- •
to be an artist -- the courage to unveil one's most profound
~mo~ions to constant outside· scrutiny.
·
'
I
'
.
By sharing their· feelings' .and their visions- with .us, these
artiStS not Only add beauty tO OUr.' SUrrOUndingS I .they keep US
from ·getting too sedate, too numb, too innured to the
complexities of _life.··
·
so·on behalf of'the President, I'd like to thank all of the
artists 1n our country who ~contribute so. much -to the richness of
our culture .. I'd like to thank supporters who help ensure that art reaches more. and more,of our people~ Arid I'd like to thank
al·l Americans .for allowing· us to house this exhibit in the White
House,· which is, in ·fact,· the peopie 1 s house,.
Thank you,very much.
2
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have always loved sculpt IW. My. httsbhnd and I
· spent our fin~t date in.an at gallery's g'anlt"n lllled
witJ1 Americ.aneculpture. T..c1 Pre~iuenl and~l hot'!'\
this exhibition of 20t~l c:entu y Ame1ic~m sculpture
will delight. challenge mid ir~ 1pirc tflc thowwwls of
vi~itor~ who paB~ through the Whit(: House every day.
I
. It is also approptiate thatthis exh il ition is on clisplny ir
thf! g~rtll'!n Nl~t'!P.ivP.rl nf and r'!rt~a 1~1l hy l.;'ir~r:t (,ncly,
Jacqueline Kennedy. Mrs. Kennc!dy belie~~d th~Ll Mt
:uuld and should ~e a part of all of o~ ·'live~. Now these
.na5terpieces of rot~temporary art will l ! accc's::;iblt: to a
1
new imd larger 11udience than ever before.
1l1e.12 sculpture5 ~Selected.c.elebrtit.e th ~ spt>cinl g~nius
artists' and their ~nduri~g cap \Oil); to stir eur
imaginations a..nd touch our he::\rts. ·
I hope this celebration of A~erica's cre~I . \'P. spjril will
enable each of us t~ gain a greatt~r apprcc ation u[ the
rit:h cultural traditions we share as \1 nnti c>i il nd ilF. n
/
ufA~erican
people ..
;
-4-:·1
My ~p~cial thanks go to the Asso~iati1 n ol' :\rt.
Museum Directors, th~ 'lris ·and B. Cern lc Car1tor
foundation, George Ne~ben. J.. Caner l:howu, md the
lending iristitutions. fur their tin1e, :~ne·rgy, and wi> ·1nm in
m:il..:ins thi!. exhibition po;.sible.
Hillary Rod ham. Clinton·
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he twelve. works of art selt~cted from AmP.ri~~m art
museUms for thi!i special exltibition ~pan ov~r s~v~nty
yee.rs of the 20th century, and r~pres~nt a diverr.e and
vital aspect of our cultural' heritflgc. Concciv~d by
Mrs. Clinton and drawn fron1 public eoll~dion~ in the
l~t:artl!IJ1d ~f th~ nation and installed in the First Lldics' Gunlen
·. of the White Hot:Se. the e;hibition lias been urganiu~clunr!P.r the
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nuspico~ o~ the A..i.~oci~tion of Art Mu~E"um Director,;.
The currem selection provides a visual illu::~lwtiu•• anrl
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unden!tanding of the transformation a~d· rlevelopm~nl .~r 20th
century sculpti.:ie.
·. Hi::sloricall!·· sculpture11 have functione.d primarily as
~latunn. noOlyserving acivi<: purpo~e to memorialize
M' iety'.s heroe~ and. reflecting its philo~ophical iclr.a<.. Pi~r.eil
·' ~re often pl.!ced in an honored ~et~ing, high up: on -~'
r edestal,_ physically- removed ftont everyday pedes I dan
raffir.. 'f'ocby, mur.~ r.ontemporury ~eulptur~ has hMn
r~moved from .the el~vated ~pace. and placed directly ~ithiu
\he context wf the vie\ver's environment. Signifieant. 20th
<!~ntury scul·p:ure now r~flecl!:! the individual artist':; ~i~ion
cmd personal convic'tions about,hum;;mkind anJ eontemporary
i~sues in m(Klern :;ociety. 'Freed from ·specific subject matte!'
:Jr function.· the visual .and ·physi~:al elem~nts of thr~e-
dimensiono:l :orrn'~h:1pa. texturl!, color-have becor:1i: th(;
. primary !:!ynt.aX for expression in the 20th century.
Thi.s exhibition highlights important example:! vf work by ·
ar!j!lt8 who have contributed to this histc;rir.nl
i:irli~tic trar~foimation. Though retro:-;pectivP- ii1 nature. over .
··half of the inclusions in thi:~ exltibition. ~re hy ·I iving.
Amt ~ican artists. Diverse in their ideas, idiu;n:1 und dwscu
met ium. they !!pan .:~everal arti:~tk ~;cllcrOJtiiH;,,Divi,lr.d,
01ln )Sl.equaUy between figuration and ahstr!lction. a)l ~,voke
~~IT'.ericun
refJrence;; to nnture nnd t~~ humAn figm~.
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w th materi nL l't.ructure, gravity, gesture and movcmem
· ( ~11'pli~d or :-eal) invite,the viP.wer n<:tively to particip111f nnd
xperience th~ .work.- Pieces were r:ho!len that incorpo~nte
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specific aesthetic is!!ues to provir~ a.' ·onden~~d survey c;f th.c
<l~velopment 6f American gculpt. re llf our time awl. alioicl to'
pruv!de the visitor with some und. rs\:.mding of this dramatic
transformation of the medium fron historical trarlition/into
c:ontemporary concepts.
The current ~election is drawn'Jr011 pUblic ait collt'i~tir)ils. of
t1 e Midwest. Anv selection constraine.la.'! this is by limitation~
( ' !ipace, format ;nd .scale is necessaril) a;bitrary. HoW!".Vf'l'. ii is .
10ped that these few works of art, in th s beautiful settin~. will
otTer the visitor to our nation's greatest'!. }use somu insight into
.the wealth, vitality, ·imaginatio'n and crc·at ve' uchi~vf:ment ·,o he
experii:~ct:d iri' the wqrk of A1t1cricnn s ·ulptor~ of. tl11: ::!Otla
century.
· (;eorge W ~t!t.:.hert~ Diredor .
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Sheldon Memorial Art Galle:v and &:u)Iiture G. eden
University of Nebra.ska-Iinco. ~
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This exhibition was mac~ po~siLlc
by the genero~~oity of' ht! .
Iris and,~: GcraUl Caintur Founduliun
with the co-operation of
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��Louiie.Bouigeois: 1911-·
. OBS~R~ER, 1947-49
bronze with white paint
Sheldon Memorial Art Galleiy and
Sculptur~ Garden,- University of
Nebraska-Liricoln, Olga N._ Sheid6n
Acquisition Trust
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L~uise ~ou~ge~is. OBSERVER.l947~
. 1949. Bronze with white paint;
UNL-Olga N. Sheld~n Aqu~s-ition'
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��Alex'ander Calder, 1898-19.76
FIVE RUDDERS, 1964 .
painted sheet metal and rods ·
Washington Uni~ersity ~allet~ of
Art,. St ... Louis, MO, Gi'ft of
Mrs. Mark C. Steinberg, 196~
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Washington University Galfery of Art
camptis·Box 1214, one Brookings Drive
st. Louis, MQ 63130·
(314). 935~5490
'ACCESSION· NUMBER: . · wU. 4?20
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TITLE:
FIVE RUDDERS
DATE:
1964
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MEDIUM: Painted-sheet metal: and rods_
SIZE:'
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.Washington University Gallery of Art, St. Louis~
· Gift of Mrs. Mark ·c. steinberg, 1964
· c ·No reproduction without written permission
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Bryan:Hunt; 1947SH~FT FALLs,' 1978
bronze
Collection·of the Akron Art Museum,
Akron, OW~ Museum 'Purtnase with
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funds from an anonymous donor
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\-JHITE. HOUSE SC\..::..,!c TUr\E i'>ROJECT
The Fi~sf Lad! ~drde~
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1978
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Museum purchase it~ii;:h fund_s from
an·.anonymous _donor
~luseum,
81.12
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Richard "Hunt~ 1935FARNER'S DREAN, 1980
-corten steel
Collec~iori of the Museum of
Contem~orary Art, Chicago, IL,.
-Gift of Mallinckrodt Group Inc,
in recognition or Richard. A. 'Lenon,
1994
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Richard Hunt
Farmer's Dxeam, 1~80
Corten steel
108 ,x S4 .x 54 in.
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��·Ellsworth Kellv, '1923BN'fl'l'LED-, 197 4- (U Tb'e" :£!ll
al'uminum·
~The Art Institut~ of Chicago,
Gift of the SoceHy. for Contemporary
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· ·The Ardnstitute .of Chicago ..Imaging & Technical Services Dcp\:·
. 111 South Michigan Avenue. Chicago. IL 60603-6110
'Ellsworth Kell)> American, b.1923, Untitled,
,aluminum, 1974,304.8 x 50.8 cm,Giftof the Society
for Contemporary Art, 1976.107
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photograph © 1994. The Art Institute of Chicago. All Rights Reserved.
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Boxed info~~ation must be published with this photograph.
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Gastcin Lachaise, 1882-1935
STAND.ING WOMAN, 1932 (cast 1980)
bronze~il~aukee Art Museum, ~~rginia Bodth
Vogel Acquisition Fund.
· ·
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· 750 North Lincpln Memorial Drive·
Mil\~aukee, Wl53202 . 414·224·3200
Gaston Lachaise
ARTIST
Standing Woman
HTLE
'bronze
ME DIU I~
.Ml980. 72
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ACC~SSiO>; ;.:..~.~::::;:;
DATt
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88 1/2
X
41 l/2
X
24 3/4' in.
MEASURE~.~:\ IS
The ioiicwing ::editl:~.e must be usee ;r, ~o~,n~c::o~ with this
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Milwaukee Art Museum; ·Purchase, Virginia Booth Vogel
Acquisition Fund I '
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Paul Manship; 1885-1966
DIANA, 1921
~~onze wi~h marble base
Crillect{on· of Minnesota Museum of ·
A~~; St; ~aul, Bequest of Patil Manship
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~aul Martship, f88~-1966
DMNA, 1921
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'36 7/8 x i6 3/4 x 11 5/8, in.
Collection of Minn'es.~ta ·Museum
of. Art
Beques,t of Paul
66: 14 .103a
Ma'ns~ip,
Please Return to the
· Sheldon Memorial Art Gallery
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�Manuel Neri, 19.30-,
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AURELIA NO. 1, 1992
m~rble· with oil-b~i~d enamel ·
Collection of Laumeier Sculpture
Park, SL Lol1is, MO,. Gift of
Aurelia and Georg~ Schlapp
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TROPICAL ·TREE Ill, 1972
aluminum
Co.lumbus_ Museum of Art; OH, .Given in
Memory o~ Frances N. '4a~arus by the
Ch~rl~s Y. Lazarus Family ·
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Louise
Nevel son
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Tropical
1?72
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6-1 X 34 X 25 .
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WALKING MAN, 1988
bp;mze
Collection Walker Art'Center;
Minneapdlis, Gift of the.AT&t
Fbundation and of the Jurins E.
Davis f,amily in memory of
Julius E. Da~is,. 1988
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WALKER ART CENTER.
Access1on Number
88.389
Art1'st
George Segal
·.·Title
:Year
Med1um
· Oimens1ons
Collect1on
Walking Man
1988
.bronze
)2 X
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X·
30"
Gift of' the AT&T Fouridat ion and the:.
:Julius E. Davis family in ::1emory
.of Julius E·. Davis, 1988
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Judith Shea,· 1948SHIELD, 1990 I
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bronze with limestone base
Sheldon. Memorral Art Gi:l.ller,y .arid·
Sc~lp~ure Garden, Universitt of
~ebra~k~-Lincoiu, Olga N~ Sheldon
Acquisi.tion· Tr,ust and th.e National·
Endowment for the Arts
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SHIELD, 1990
1948 -
bron~e w~th lim~stone b~se
55 3/4 ~ 14 x 14 in.
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LOUISE OOURGEOIS
1911 -
OOSEAVER
1947-49, bronze with white paint
76 1/4 X 29 X 10 1/8 in.
Sheldon Memorial Art Gallery, University of Nebraska-Lincoln,
Olga N. Sheldon Acquisition Trust
1988.U-4087
ALEXANDER CALDER
1898 - 1976
AVE RUDDERS
1964, painted sheet metal and rods
154 in.
Washington University Gallery of Art, gift of Mrs. Mark C. Steinberg, 1964
alternative:
I
GE()FG: RICKEY
1907 FOUR RECTANGLES OBUQUE, VARIATION II
1972-75, stainless steel
h: 99 to 108 in.·
The University of Iowa Museum of Art
Museum Purchase, 1978.42
BRYANHUNT
1947 SHIFT FALLS
1976, brorize
120 X 17 X 11 in.
Akron Art Museum, Anonymous gift
ELLSWORTH KELLY
1923 UNTITLED
1974, aluminum
120 X 20 X ? in.
Courtesy of the Art Institute of Chicago, gift of the Society for Contemporary Art
1976.107
GASTGJ LACHAISE
1882 - 1935
STANDING WOMAN
1932 (cast 1980}, bronze
88 1/2 X 41 1/2 X 24 3/4 in.
Milwaukee Art Museum, Virginia Booth Vogel Acquisition Fund
M1980.172
1
8/18/94
�PAUL MANSHIP
1885 - 1966
DIANA
1921, bronze with marble base
36 7/8 ·X 26 3/4 X 11 5/8 in.
Minnesota Museum of Art
66.14.103a, Murtha 138
PAUL MANSHIP
1885 - 1966
ICf~
1923, bronze with marble base
30 1/2 X 32 X 11 3/4 in.
Minnesota Museum of Art
66.14.1 03b, Murtha 155
LOUISE NEVELSON
1899 ,_ 1988
TROPICALTREE Ill
1972, aluminum
64 X? X?
Columbus Museum of Art
alternative:
MALVINA HOFFMAN
1887 - 1966
BOY WITH PANTHER CUB
c.1915, bronze
66 3/4 X 14 1/4 X 19 1/2 in.
Cedar Rapids Museum of Art
Gift of the Charles Lamson Hoffman Family and
the Cedar Rapids downtown Rotary
87.7
~SEGAL
1924 WALKING MAN
1988, bronze
72 X 36 X 30 in.
Walker Art Center, gift of the AT&T Foundation and the Julius E. Davis family
in memory of Julius E. Davis, 1988
88.389
JUDITH SHEA
1948 SHIELD
1990, bronze with limestone base
55 3/4 x .14 x 11 in. (base: 15 x 14 x 14 in.)
Sheldon Memorial Art ·Gallery, University of Nebraska-Lincoln,
Olga N. Sheldon Acquisition Trust and the National Endowment for the Arts
1990.U-4272
2
8/1 8/94
�DAVID SMITH
1906 - 1965
CUBE I
1963, stainless steel
h: 124 in.
Detroit Institute of Arts
Founders Society purchase
66.36
3
8/1 8/94
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• MESSAGE FROM FIRST LAD7f HILLARY. RODHAM CLINTON ·
FOR THE OPENING OF. THE SPE~IAL. SCULPTURE.EXHIBITION
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I have always loved sculpture. My husband-and I spent our
first date in an art gar·r~ry' s garden filled with American
sculptur~. The President and I hope this exhibition of· 20th , ·
century -American sculpture wil_l delight, ·challenge and-inspire
the thousands of visitcirs who pass through the_ White House every
day.
·
It is also ~ppropriate that this .exhibition is on display in.
the garden-conceived of and created by First Lady Jacqueline
Kennedy.- M:r;-s. Kennedy believed that art could and. should. be a ' .
part_ of all of our· 'lives.· Now these masterpieces of contemporary
art will be accessible to a new and larger audience'tha~ ever
before .•
The 12. sculptures selected celebrate. the sp'ecia_lr genitis of
American artists and their e-nduring capacity -to stir our
imagination~ and touch ~u~ hearts.
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this celebration of America's creative spirit will
.enable -each of us to' gain a great~r appred{ation of the rich
cultural traditions, we share as a nation and as~ people.,
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M·y·· special thanks go to the Art Museum Directors
Associat'ion, the Cantor Foundation, George N.eubert, · J. Carter·
-Brown,. and the .lending institutions, for their.time, .energy, and
wisd9m in making this_exhibiti6n possible.
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·The twelve works of art selected from American art museums
for this special exhibition span
o~er
§eventy years of the 20th
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century', and-represent a diverse ·a:pd vital aspect of our cultural
heritage~' Conceived by Mrs. Clinton and. drawn from. p~blic
cbllections i~ the he~rtland ~f the nation.and.iristall~d in the
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-First Ladi'es' G':lrden of the .White_ House, the exhibit:ion-has . been
/
organized· .under the auspices of the Association of Art Museum·
Director,s .
. The current selection provides. a visual ~llustration and
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' understanding of the transformation and development of 20th
century
sc~lptu~e.
HistoricaL~.y,
'
sculptures
have·
funpt:Loned
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primarily as statuary,. noply serving'
a
civic ·purpose to
memorialize society's heroes and r~flectirig its philos~phical
ideas.' Pieces were often placed in'an honored setting, high up
'.
on a
pedest-al,~.physically
removed from everyday pedestrian
.
.
tra-ffic. . Today, much, contempor-ary sculpture has. been rembved.'
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from ·the. elevat,ed space and placed directly :within·· the context of·
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the viewer's environment.
Significant 2C)th c_ent,ury sculpture
no~
reflects the individual ~rtist's vision and -.personal convictions
about humankind· and contemporary issues in modern society.
Freed
from.specifi~·subje6£ matt~r of ~unction, the visual and physicai
elementS Of three-dimenslo'nal form -- Shape,· texture 1 COlOr
have become the primarx syntax for ~xpressioh in ·the 20th
.. ; .
century~
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This exhibition highlights.important examples of work by
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']\merican ~artists 'who hav~ contributed to this historical artis:tic
transformation.) Though retrosp~~five in riature; ~o~er half of the
· - inclusions in this exhi_bition are by living .American artists •
. Diverse in their ideas,. idioms and. chosen medium;· they span
.
several artistic generation~~
~abs,traction;
figurati'on and
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Divided.almost.equally
between
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all' evoke references to nature"'and
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the human figu.re.
Carved, modeled, or. constructed, the predo:rilinant.concern
with material, st;ructtire, ·gravity,
gesture and· movement (i,mplied.
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or real) invite th'e viewer activel.y to participate and ~xperiencei
Pieqes wer; chosen. that incor~orate spebifi~ ~esthetic
the work.
issues to ~rovide ~ condensed survey of the developm~nt of
...
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American scu;I.pture of our time. al)d also to. provide the visitor
.
with· s·ome· understanding of this dramatic. . transformation
of the
.
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medium from historical traditions. into contemporary.· concepts.
Th~ current selection is drawn from public art collections
of the Midwest.
Any selection ~onstraiQed
as.this
is by
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limitations of space, format and scale is necess~rily arbitrary.·
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Howevei~
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it is hoped·that these few works 'of art, in this
· . beautiful sett.ing, will offer· the vis.i tor to otp:;- nation's
greates~ house some-in~{gtit jnto ~~~ w~alth, vitality,
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imagination and: creative aghieve1nent to. be
experie;nc~?in
work o'f 1 Amer icari 'sculptors o:f the. 2Oth century.
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09:22
.GRAHAM/MUSCATINE·.:.. 4555244 ··
PHOTOCOPY
HAC HA~Dt~JR!T!NG
1m draft 10/5/94
MESSAGE FROM FIRST LAPY BILLAR¥ RODSAM CLINTON
---~~ THE O~KNING OF TBE SPSCIAL SCUL~TUR£ EXH!~ITION
It is
~
~
centuryAmetican
of
appropriate thaL Lhis exhibition ~f 2utfi
scctlptl;lr8 ii..s on display in the garden conceived
'
and created by First Lady Jacqueliw;
Kerutedy.
·
The 12 sculptures selected. celebrattl ··Lhe special gcniua of
American artist_s and their enduring capacity to stir our
imaginations and touch our hearts.
Mrs. Kennedy believed that art could am.l s11ould be a p<;lrt of
~11. of our lives. Now these masterpieces of contemporary art will
e accessible to a new and larger audience than ever before the· tho1.1F:ands of visitors to the White House who pass by the
First L~diesr Garden eac~ week.
'12.1 -f
It- is my sinc&ef:hope
~ this celebration of Amer:it.:<:~.'s
creative spir-It·. will enable each of us to gain a greater
appreciation of the rich cultural traditions we share.as a uctLion
·. o.nd as
a people.
·
My special tha.nkr-:1 go to the .Art Museum Directors
Association, the Cantor Foundation, George Neubert, J. ~arter
Drovm, and the lending "institutions, for their time, energy, and
w-isdom in making this exhibition possible:
~
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�lm draft 10/5/94
MESSAGE FROM FIRST LADY HILLARY RODHAM CLINTON
FOR THE OPENING OF THE SPECIAL SCULPTURE EXHIBITION
It is wholly appropriate that this exhibition of 20th
century American sculpture is on display in the garden conceived
of and created by First Lady Jacqueline Kennedy.
The 12 sculptures selected celebrate the special genius of
American artists and their enduring capacity to stir our
imaginations and touch our hearts.
Mrs. Kennedy believed that art could and should be a part of
all of our lives. Now these masterpieces of contemporary art will
be accessible to a new and larger audience than ever before -the thousands of visitors to the White House who pass by the
First Ladies' Garden each week.
It is my sincere hope that this celebration of America's
creative spirit will enable each of us to gain a greater
appreciation of the rich cultural traditions we share as a nation
and as a people.
My special thanks go to the Art Museum Directors
Association, the Cantor Foundation, George Neubert, J. Carter
Brown, and the lending institutions, for their time, energy, and
wisdom in making this exhibition possible.
�~~
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Brochure Cover
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·. JWENTIETH CENTURY
AMERICAN SCULPTURE
AT THE WHITE HOUSE
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An Exhibition ·
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THE WHITE HOUSE
WASHINGTON
August 24, 1994
MEMO
TO:
FROM:
MELANNE VERVEER, DEPUTY ASSISTANT TO THE PRESIDENT AND
DEPUTY CHIE~F:;:o THE FIRS!. LADY
REX W. SCOUTEN,
SUBJECT:
CURATOR~~~
Proposed White House Sculpture Garden
I will find out how much space will be allocated on the brochure
for Mrs. Clinton's message.
It would be wise, I think, to have "This exhibition was made
possible through the cooperation of the White House Historical
Association and the Committee for the Preservation of the White
House" somewhere on the brochure.
A label will be sent to you for approval.
�Withdrawal/Redaction Marker
Clinton Library
DOCUMENT NO.
AND TYPE
001. letter
SUBJECT(TITLE
DATE
Address (Partial) (1 page)
08/2311994
RESTRICTION
P6/b(6)
COLLECTION:
Clinton Presidential Records
First Lady's Office
Speechwriting
OA/Box Number: 8170
FOLDER TITLE:
HRC [Hillary Rodham Clinton)/Sculpture Garden 10/11/94
2012-1 004-S
ms528
RESTRICTION CODES
Presidential Records Act- )44 U.S.C. 2204(a)l
Freedom of Information Act- [5 U.S.C. 552(b))
PI National Security Classified Information l(a)(l) of the PRA)
P2 Relating to the appointment to Federal office l(a)(2) of the PRA)
P3 Release would violate a Federal statute j(a)(3) of the PRA)
P4 Release would disclose trade secrets or confidential commercial or
financial information l(a)(4) of the PRA)
PS Release would disclose confidential advice between the President
and his advisors, or between such advisors ja)(S) of the PRAI
P6 Release would constitute a clearly unwarranted invasion of
personal privacy l(a)(6) of the PRAI
b(l) National security classified information [(b)(l) of the FOIA)
b(2) Release would disclose internal personnel rules and practices of
an agency [(b)(2) of the FOIA)
b(3) Release would violate a Federal statute [(b)(3) of the FOIA)
b(4) Release would disclose trade secrets or confidential or financial
information [(b)(4) of the FOIA)
b(6) Release would constitute a clearly unwarranted invasion of
personal privacy [(b)(6) of the FOIA)
b(7) Release would disclose information compiled for law enforcement
purposes l(b)(7) of the FOIA)
b(8) Release would disclose information concerning the regulation of
financial institutions l(b)(8) of the FOIA]
b(9) Release would disclose geological or geophysical information
concerning wells [(b)(9) of the FOIA]
C. Closed in accordance with restrictions contained in donor's deed
of gift.
PRM. Personal record misfile defined in accordance with 44 U.S.C.
2201(3).
RR. Document will be reviewed upon request.
�THE WHITE HOUSE
WASHINGTON
August 23, 1994
Dear Carter:
Enclosed are descript:ioi1s of the pieces that George Neubert,
Sheldon M.emo:rial Art G.allecy and Sc:ulpture G9rdenl h_as assembled.
for the f.irst' White House Sculpture Exhibit.
Do, you think that eleven pieces are too 'm9ny?
Do you feel that a,ny of the piec~s are inapprop:r::i,at~ £or the
White House?
Po you have a c:oncern for showing, the work of. living artists
· at the· ·white House? Plea$e note that there are no
'loans from private individual$.
I can secure labels· for the garden sculpture c(t no cost.
The labels will . be similar to what we use fOr trees and plant
material. I wi'ii send ypu a sample later.
I have asked George Neubert! s office to do a de.sign and
layout for a three fold broqhure. Space will be provided, for
'message £rom Mrs. Clinton and project \.mde.rwriter,·s will be
acknowledged p_rl the back of the·; brochure. Th~ layout. wi;ll, l;:>e
forwarded for appr,oval by the committee prior to p:r:intfng.
a
We
will .Prepare bases fpr ·t;he sculpture at t}1e White House.
Futur.e pieces can :be accontinodated on the same suppo:r:tl:?·•
Lighting £or the sculpture will be ac:;complished by White
HoUse personnel.
I will ask those committee members ,in
Washington ·to-$t()p by and take a iook.
'I look for;ward to hearing from you.
Please telephone me at
(202) ·4'56'-2'550 at yqur earliest, convenience. Much work remains,
but we antic::i;Pa-te an open;ing in ea:rly October.
w.tth. best wishes,
Mr. J.
I ...... ..
~
�University of
·.Nebraska
Lincoln
Sheldon Memorial Art Gallery
and Sculpture Garden
P.O. Box 880300
Lincoln, NE 68588-0300
(402) 472-2461
August 17, 1994
Mr. Rex W. Scouten, Curator
The White House
Washington, D.C. 10500
Dear Mr. Scouten:
Enclosed please find a list of eleven (11) sculptures which Sheldon Gallery's Director,
George Neubert, has selected for installation in the "First Lady's Garden" at the White
House from October, 1994 through March 1995. Also enclosed are coPies of the letters
forwarded to each institution requesting the loans. Attached to each letter is a copy of the
loan agreement and a Xerox image of the sculpture. I am also forwarding to you a layout
of the "First Lady's Garden" depicting the propOsed installation site of each work. It is
Mr. Neubert's intent to place Alexander Calder's Five Rudders near the center of the
garden, and the two Manship sculptures will be placed on either side of the French doors
opening onto the garden. In the event that the Calder is not available for loan, the George
Rickey sculpture Four Rectangles Oblique, Variation II has been selected as an
alternative.
·
After the signed· loan agreements have been returned to Sheldon Gallery, our Preparator,
Steve Jensen, will contact the appropriate personnel in each institution regarding
specific installation and handling instructions. Steve will then communicate any special
needs to you.
How shall we handle the payment of expenses incurred in preparation for the White
House sculpture display? Would you prefer to have the venders bill you directly
whenever possible, or shall we cover all of our expenses and request a reimbursement?
We will await instructions from you in this regard.
Sincerely,
~~'-iY\.L~
Karen Merritt
Registrar
enclosures
cc: George W. Neubert, SMAG Director
University of Nebraska-Lincoln University of Nebraska Medical Center University of Nebraska at Omaha University of Nebraska at Kearney
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Lachaise
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FROM ARTINSTITUTEOFCHICAGO
TO 1402472918'
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.THE A.R1' INSTITUTE OF CHICAGO
C 44941
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Cbku:o. tllinoi• ,O,Ol
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MEDlU'M--a~l:...:.u.:..C\.::.i.~.::.u:::.m~-------DAT&:.[_ _ _ _
l9_7_4_ _~Sii;'ElO' high; 20"
cOLl.'ECTIOW-ift: of the Societ1 for
t,~idE
Contc~:~
poTary Art, 1976.107
The followii\E words must be uscil in
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with
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f>Ubliation ol this photo;nph:
COURTESY OF
THE ART INSTITUTE OF CHICAGC
�William Zorach
Child Drinking
Marble
21'h X 13 X 14W'
Gift ol Mrs. Will F
her Husband \'
Gaston Lachaise American 1882-1935
Standing Woman 1932. cast 1980
Bronze
88'h X 41'h X 243A"
Purchase. Virginia Booth Vogel Acquisition Fund
M19B0.172
Lachaise was born in Paris and studied at the Ecole Bernard Pahssy and the Academie Nationale
des Beaux Arts. He moved to Boston in t 906 and to New York 1n 1912. where all ol h1S mature
work was executed. The first sculptor to be attorded a retrospeCtive exh1b1110n at New York's
Museum ol Modern Art. his comm1ss1ons and portr<uts ol the Intellectual and aesthetic leaders ot
h1s time could have made a lull reputat1on tor an ;ut1st otlesser amootlon. Lacna1se's pnmary
sub1ect. however, was tne hgure ol woman as mother goddess-custodoan ottne mystery ol
generat1ve hie. Elevatton ol I 91 2· t 7. 1n tnc collt:c:tlon ol tne /\rt tnstotutc ot Cll1cago and
museums. 1S tne earliest ma1or work rcttectu•g t11s pcrsonotocatlon of tne ternalc
otne~
Swnd,ny Woman seems lhl! tnumpll ami lullolhll"nt ol all ot Lacnaost!'S sruall stuc!ocs. statudtes
anctlull-scate nude tcrmtle hgurt:s Mnnwru:ntal "' s11<:. sh•: tak<:s a 111111 stance. notcls her nead
hi{JI'1 and places ncr hands dell:rnuncclly on om? lup aml tnc ollu.:r \lugll II os a regal pose. one ol
composure and Ioree. The sculpture 1S the P.mllu<lum:nt ot\1'1c aoos!'s htelong ellortto express the
1mpenous goddess quahty tn the ht:ro1c scale /\s Hollon Kramer has smd. "Nowhere 10 Lacnaosc·s
work is hrs tavored concep11on ot the temate hgum - woth lllc nmasts a net arnis. the thoghs and
buttocks and belly torm1ng a centntugat orchestrauon ol masses around the delicate. stenoer
waist - given a more a complete realization." Standmg womun. sometimes reterred to as Hetotc
Woman, is the last tile-sized silure in the senes which constituted Lacha1se's ma1or ach1evement.
Only ooe cast was produced 1n the artist's lilet1me and it has oeen on display 1n the garden ot the
Museum of Modern Art since the t 940s. Th•s sculpture is the fourth of e1ght casts made in t 980.
Forty-hve years after Lachaise's death. the figure still has the fundamental strength and power that
made it a masterpiece.
1HO
G.N.
20!h Century American Art
John Kane Arr
Bust of a High/a
circa 1927-3(
Oil on canvas
34'11 X 24 1/ .. '
Purchase
IV.
One ol the tirst ~
be recognized or
Scottish immigr<
lite as a day tab.
Pennsylvania. /'.
use color by pa
depicting tandsc
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David SMITH (1906-1965)
Cubil ·
Stainless steel. H. 124 in. (1963)
Founders s·ociety purchase (66.36)
,.
Smith brought vitality and innovation to·modern American
sculpture. His friend Robert Motherwell once described him "as
delicate as Vivaldi and as strong as a Mack truck." It is this peculiar
duality of Smith's personality that is resolved so eloquently in his
sculpture and that Cubi I exploits by delicately balancing heavy
masses of burnished stainless steel. The strongly three-dimensional
Cubi series was begun in 1963 with this piece. now generally
acknowledged to be the culminating achievement of his career.
Smith preferred to work in series. taking a problem and. through a
variety of individual pieces. examining it from all possible perspectives.
He had great feeling for his materials and the inherent qualities of
the metals he used were exploited to their full expressive
potentiatility. He was particularly fond of stainless steel because it
reflected light and involved the piece with its environment. In
writing about his own work. Smith of\ en stressed the importance of
an imagery which seemed to deny the substantiality of his work.
He was concerned with "dream images. eidetic images. vivid and
recallable." For Smith each piece should contain nothing not already
known to the viewer-"! want you to travel. by perception. the path
..
;'
John CHAMBERLAIN (1927-)
CooWhaZee
Welded auto meial, H. 75 in. (1960/65)
Mr. and Mrs. S. Brooks Barron gdt (65.76)
l
..1
Chamberlain's early work wtth auto parts lies somewhere between
the Abstract Expressionism of the mid-1950s and the Objectivism
of the 1960s. His work grows out of a cubist tradition in sculpture
but shares an alliance wtth aspects of "Pop" art. The sculptor Hassam
once told him. "Keep it light." Thts fragile. wind swept quality is
basic to much of his work. H tS p11mary concern is with the formal
relationships of flatness. volume. void. space. and color. Coo Wha lee.
done in the t:arly 1960s. 1S made of welded auto metal. By bending
and cutting "found" pieces. Chamberlain created sharp jutting edges •
concave and convex. painted and rusted elements. falling into
seemingly chance combinations. The spatial nature of this piece is
similar to Baroque sculpture~ for it 1mplies explosive motion. At first
impression Chamberlain's work 1s almost humorous. but upon deeper
reflection. Coo Wha lee has a deadly realism and a high degree of
formality.
Modern An/185
I traveled in creating."
Modern Arr/ 184
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Louise Bourgeois
OBSERVER
1947-49, bronze with white paint
.•
Sheldon ~emorial Art Gallery, University of Nebraska-Lincoln
�..
In 1955, the Museum received 34 turn-ofthe-century American paintings from the collection of Edwin Coupland Shaw (1863-1941). It
was the largest single bequest ever made to
this Museum and includes works by such out, standing American artists as William Merritt
Chase. George Inness, Childe Hassam and
. Frederick C. Frieseke.
Since the mid-1970s the Museum has
added important works to its contemporary
collection by artists such as Donald Judd,
Robert Morris, George Segal, Andy Warhol and
Helen Frankenthaler. More recent additions
include paintings and sculptures by Philip
Pearlstein, Philip Guston, Lois Lane. Mark di
Suvero and Sol LeWitt.
he photographic collection contains substantial holdings by both 19th and 20th
century photographers. Historically important works date from the Civil War period and
the opening of the West. Works by Alfred
Stieglitz, John Heartfield and Lee Friedlander
span the decades of this century. Stylistically
diverse artists in the collection include Robert
Frank, Ansel Adams, Duane Michals and
Eadweard Muybridge.
A varied group of exhibitions has been
presented since the late 1970s. Most of these
have been organized by the Museum, while a
Bryan Hunt.
Shift Falls,
1976, bronze.
120 x 17 x 11 inch
Anonymous gift.
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Judith Shea
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90 , bronzeQT";with
. •
ka-Lincoln
SHIELD
l'mestone
Gallery,base ·vers~ty
of Nebras
19
2.~1 Art
1don
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�George Rickey
FOUR RECTANGLES OBLIQUE,
VARIATION II
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~~niversit~~p~ Iowa Museum of
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resemble the Etruscan Sht-Wolf, that
nourisA.cd Romulus and Remus, with itS
arcluic traces in the tight curls and
srylittd mane.
Manship intended these works to be
shown as a pair. He had worked with the
themes as early as 191 1. They reflect
Manship"s mature style and arc typical of
his nunncr of giving tradirional clements a
modern appearanc.;. The sryliution of che
forms, the balance between linear
dc6nition and silhouette, reAect his
affinity for archaic Greek vase painting,
(the subject of Actaeon has been dcpicrcd
by rhc Pan Painter, late ~th c. B.C.). The
emphasis on streamlined movcmcnr,
smooth surfaces and mannerist poses, place
the ...'Ork wirhin the prevailing Art Deco
style.
G.K.
_._. ·' •
73
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Diana. 1921
bronze, marble base
}6% X 26Y• X I I '1.
66. 14.10}a
Murtha 138
46. A(laton, 1923
bronze, marble base
}OYl X }2 X 11¥.
66.14.103b
Murtha ~~~
According to myth, Diana the chaste
Roman goddess of the hum transforms
Actaeon, the hunter, imo a stag because he
inad~nc:ntly sees her bathing. Actaeon is
shot by Diana and, as he gradually turns
into a stag, is attacked by his .own two
hounds.
The arabesque cur~s of Diana's body
arc repeated in her Rowing drapery. She is
depicted at the moment she releases the
·arrow which has tlown beyond view. As it
leaves her bow, she glances back at her
target over her left shoulder. Her body,
suspended in a leap above ground, breaks
into headlong Aighr; the dog beneath her
echoes Diaf!ai pose with head turned back
and legs ntended in a full run. Both
ligures arc: supported by stylizeJ plant
forms with curling leaves.
Conuasting with the linear quality of
Diana, the sharp diagonal form of Aaaton
is portrayed the moment after the arrow
has struck his fiesh. His body stiffens as he
lunges forward, frozen in agony, his hand
covering the wound to his side. His
partially opened mouth further expresses
his anguish. The dogs represented closc:ly
72
�Sensitivity ·
. _· _
- I
genius can draw them
-· ngelo, Complete Po~ms
mer! ofMichelangelo, ed ..
Linscott (1963 ).
h chiselled touch
ewri and cold-·
ving mold ..
marble'· wastes
the statue grows.-
tbid.
est artist .has no concept
marble does not
Its mass, but only the
ys the intelligence can ac-.... 'Taking away ..•.
· i'!g figure in alpine and .·
ch ... grows the more as.. chipped away' .' ·..
bid..
'I
:1tue is then beautiful
to l:ie incomprehensildo Emers'on; Essays: Art
_ 1585 Carving became, a harbor of
· safety into which I could steer . my- thoughts and senses, a sort of salvation
by self-obliteration.- Malvina Hoffman, ·
Sculpture Inside and Out·(1939). '
'
-·
-
139
'
.
a9andonment to the moods and the fa~-·
ci~s of the momerit. These, are _my water~ ·
colors. Then the~e are the visions imprisoned in the rock and the visions deep
in\ one's SOt11-the things one does' in
seeking for the inner rhythm of nature
an:d life; in the journeys into the
un,known region where one can grasp
only mystic' frag~ents from- the great
·sufuconscious that surrounds us. There is
mJch of pai;, and exalt;tion in creative
wotk. A resistless, relentless power that·
mikes me_ ever create. This is my
scu)prure.- William Zorach, Art Is My ·
Life (1967).
· 1586 We' all love fetishes, van Gogh
and his generation had their Japanese
··an-we have the Negroe.s. Their forms
have no more influence on me thari on
Matisse or Derain. But for Matisse and:
De rain the masks were sculpture'- no
more than that. When Matisse showed
me his first Negro head, he talked about
Egyptian art. But when I went to the '
Musee de !'Homme, 'these masks were
not sculpture, not in the least, they were .
.. wlt
'h ,.1ne ....
: -1l591 I am in I ove
.. magical: objects .... - The Negro
Sc~:lp~ure is nothing more than hundreds __
sculptures were intercessors- I've known
of ¥ifferent lines, p~ofiles, silhouetteJ,
· the French word ever since thensee~ from as many different angles.-]..
-iiuercessors against everything- against
_ Chester Armstrong,' Artists of the.
'·unknown,. threatening· spmts. I
.· Roc~ies and the' Golden West· (Spring
understood what their sculpture did fqr .
1984).
.
·.the Negroes·. Why they carved them that
! way not some other way .... They. were
. weapons- to keep people from being
ruled by spirits, to help free themselves.
I
'
Tools. "Les Demoiselles d'Avignon"
must have come. to . me that day, not
1592 You will find as you go through
because of the forms, but because it was
life that if you ask what a. thing means,
my first canvas of exorcism.- Pablo
a pic:ture·, or music or whatever, you may:
Picasso,: in· Voices of Silence,. by Aridre
l~ar.~ something about the people you
Malraux (1954).,
·ask:, 'but
as-for learning about
the thing
I
.
_you seek to know, you will have to sense
1587 In my opinion, long and.inr<;nse
it in\ the end through your own experstudy 'of the human figure is the
ience1, so that you had· better save _yo~r
necessary foundation for a sculptor.~
energy and not go through the _world ask-·
Henry Moore, in Hekry .Moore:
ing what 'cannot be communicated in
1921-1948, by David Sylvester (195 7).
wordk. If- the artist could describe in
word~ what he does, the~ he would never
l588 I became a sculptor who pai~ted
have\ created it.'- Alfred· Stieglitz, in
his images.- David, Smith, The, Artist's
Alfred, Sti::glitz: ·Photographs and
Voice, by Katherine Kuh (1960).
Wni/pgs, ed. by Sarah Greenhough and
. Juan Hamilton (1983 ).
1589 Every time I make sculpture, it
'
;., breeds teri more, and then time is tod
I
'
_S~nsiti~ity
·e is the an of the· hole·
Auguste Rodin; in Art,
sell (1912).
-,
ptor does riot fall below
· . -Auguste Rodin,
interpret joy, sorrow,
soever, he will not be
1less he first knows how
live which he evokes.
joy ,or the sorrmv of an
block of stone- affect
of life is obtained
modeling and by
two qualities are like
td of all good work . ...:.
~id.
.
.
a
short to make them all.- David Smith, ·
Ari ,in America M;gazine' Oanuary/
February 1966).
·
1590 There are things one does for the
pure love of form and color, in the easy
:\.
'
· . 1593 To begin with, I do not _believe_'
1
· (in th usual sense) in, talent. I believe
that anyone with enough time and·
energ~ can paint salable pictures. The
only ' · that I accept and respect· is
. I believe that the artist is .
r
�'
508 WORK
'I
/
.ever p~inted a .picture -:vort~, looking at,. or writt.
ten a symphony worth heanng, or a book worth
. -·reading, and it is highly improbable .that thJ•
thing has ever-been dor1e by a v,irtuous woman.
.
t-i.L MENCKEN, Prejudices, 1919.
of racism and sexism cramps creativity; training
is alrriost impossible to obtain.
·
- · "~. ....
KAREN PETERSON AND
~ith
help.they might
m?k~
An artist 'is a dreamer consenting to dream of the
actual world.
a living,
·GEORGE SANTAYANA, The Life of Reason, 1905:_1906.
My scuipture grew from painting.- My analogy
and reference is with· color. Flash reference and ·
afterimage visionis historied in painting. I chew
the fat with painters. My student days, .WPA days,
Romany Marie and McSorley days were With
painters~Graham, Davis, Resnikoff, De Koonirig,
Xceron, Edgar Levy, Gorky, -Stella, etc. In, these
early days it was Cubist talk. Theirs I suppose was
_.the .Cubist canvas, and my· reference image was
the Cubist construction .. The lines then had not
been drawri by the peda~ts-in Cu~ist talk,Mondrian and Kandinsky were included.
But ~ will say that I have did re~arkable for one
of my years, .and experience, _ ·
· _._ · · .
.As for publicity, that Im [sic]too old to care for
now.... ·
GRANDMA MoSES, "How I Paint and Why," New York
Times Magazine, May 11, 194 7.
would· have raised
chickens.
G.,;.NDM~ MoSES, Grandma Moses, My Life's History,
1947. .
.
'·
.
'
DAviD SMITH,- "Notes on My Work," Arts, February,
1960~
.
.
.
.
I've been ·sculpting for ,many years. It's almost·
like breathing for rrie.
·
If I have sorrow or enjoyment; my works go:
DAviD SMITH,
1960.
along with me:. They are not just forms as such. ·
Somehow they hav:e .a life of their_ own and they.
reflect me~
·
·
·
'
'
found. my~elf saying to myself_:_! cari't live·
wl:lere I warit to-,-I can't go where li want to-I
can't do what' I ~ant to. I can't even say what I
want to. I decided I was a very stupid fool not to
-atJeast paint I wanted to and say what I want"
e_d to when I painted,' as that seemed to be the
only thing I could do that didn't concern anybody but ~yself. -
I
ANDY WARHOL, "Andy Warhol Inc., Portrait of the Artist
as a Middle-Aged Businessm~n," Manhattan Inc.,
October, 1984.
·
as
GEoRGIA 0' KEEFFE,. exhibition· catalog, january, 19 23·,
- Georgia O'Keeffe, ·, :
·
·
patt~r~ of
n_eglect, exclusion, 'condescension, and down-.
right exploitation in . the treatment' of women
artists of color in this country. The double bind
"Notes-~n My Work>' Arts, Febr~~ry,
· I'd asked around, 10 or is people for suggestions .... Finally one lady f#end asked·. the right
question, "Well, what do you love _most?" That's
how I started painting· money. .-
.
LOUISE NEVELSoN; in Louis Botto, "Work in Progress
Louise Nevelson,"'lnt~l/e~tual Digest, April, 1972.
----~ -_
~-
.
I believe in perception as being the highest order
of recognition. My faith in it comes as close to
an ideal as I have. When I work, there is no consCiousness ofideals-but intuition and irripulse.
LouiSE -NEVELSON, )n Louis Botto, "Work in Progress
Louise NeveiSOf!/ lntellect!Jal Digest, Apri/,'1972.
'
~
NoRMAN RocKWELL, quoted in article by Arthu~ C.
Danto, ."Freckles for the Ages," New York Times,
September 2~,_ 1986.
.
.
·But with taxes and income taxes there· is ·.little
money in that kirid. of art for. the ordingry artis
[sic] ·
If I didn't· start 'painting,
'
Women Artists, 19,76.
I cannot convtnc~ myself that a painting is goo(!, ..
unless· it is· popular. If the' public dislikes· one of
my Post covers, I can't help disliking it myself.
I
I don't advl~e any one to take it [pain~ing] up as
a business proposition, unless they really have:
talent,- and are crippled so as to deprive th~m of.
physicallabor,
·
·
Then
J.J. WILSON,
I'm like a prostitute ... never off dut}r,
·"·
ANDREW WYETH, Ti~e, August 18, 1,986.
I
'i
·~,.
. I dream a lot. I do more painting when I'm not
painting. It's in the subconscious. - .
AN'Dmli WYETH, Tif!Je, August 18, 1986.
I don't deal in controversy. I deal in ~n~ Ifs
arate from reality. · -
It takes only a little' analysis to see. the
'
.
DEAN YouNG, on continuing comic strip 8/ondie begun
by Chic Young, t:~ewsweek; October 1; 1984.
.
sep~ .
. !
�SCIE~CE
356
SCULPTURE.
must ·understa-nd science .if he i_s \to harness
it to live with it, to grow with it.
'GLENN T. SEABORG. (Interview ~Nith AltonBlakeslee of the Associated ~ress, date_. lined . Washington, .D.C., 29 Sept.,
1964)
1'
Mystics always hope~ that science will some
day overtake them.
.
. ·BOOTH TARKINGTON, Looking Forwar4, p.
112:
' '· \
c
SCULPTURE
·see
8·
also Art and Artists
. A sculptor wields
· tJ:, ·
The chisel, and the stricken marble grows
To beauty.
·
· ·
'WILLIAM Cu~LEN B~:VANT,'- The Flood of
· Years, I. 42.
.
9
)
l
''
'
The tr~uble is, the more it' resembles me, the
worse It looks. · 1
..
EMERSON,· ~o Daniel Chest~r French; who
. was makmg a bust of· him.' (CABOT A
· Memoir of Ralph Waldo Emerson' p
679)
'
I
•
ft will free man from his rem~ining chains,
the chains o( gravity which still tie .. him to
this planet. It. "{ill open to him. th~ gates of
· :..
·! \ ·
·
heaven.
10
. WERNHER VoN BRA~N, referring to travel . The statue is then beautiful when it begins
in o~ter space. (T~me, 10 Feb., 1958)
to be incomprehensible.
·
EMERSClN, Essays,-'First Series: Compensa:f we contiime
this leisurely pacJ. we wil;
·
tion.
·have to pass ~ussian customs when\ we land
11
on the moon.
·
_.
_ Not from a vain or shallow thought
WERNHER VoN BRAuN. (United fress In- His awful Jove young Phidias brought.
-ternational compilation of outstanding·
· EMERSON, The- Problem.
quotations of 1959, datelined' \London,
12
'
· 29 Dec., 1959; in New York Times ·of
.Every young- sculptor seems to think that he
· 30 Dec., 1959)
: .
.
' must give the world some spe~imen of indec4
'
orous womanhood, ·and call if Eve, Venus, a·
1
To defi~e it rudely but'not in~ptly; engineer- Nyniph, .or any name .that may apologize for
ing is the art of· doing .tha,t well ~ith one a lack of .decent -clothing. ·
'dollar which any bungler can do With two
NATHANIEL ·HAWTHORNE, The Marble
after a fashion. .
·
· ·
\
·
Faun, ch. 14.
· ·ARTHUR M .. WELLINGTON, The Economic
.13
\
'
-Theory qf Railway Location: IntroducSculpture is more divine, and more like Na- ·
. · tion. · ·
\
-.
, ture, -1
.
\
~
'
'' '
That fashions all her works in high relief,
Then there is technol'ogy, the excesses of sci- And that is sculpture: This vast ball, the
entists,-who learn how to make thing~ much.
· Earth,
-, ,
faster than we can learn what to do with Was moulded out of clay, and baked in fire;
·
·
them.
Men, womeri, and all animals that breathe ·
'THORNTON
WILDER.' '(FLORA LEWIS,' Are statues and not paintings.
Thornton Wilder_. at 65; 'New\ York
HENRY' WADSWORTH LONGFELLOW, 'Mi. • Times M~gazine, 15 Apr., J96:·.·1?·\ 28) ..
chael Angelo, pt. iii, sec.· 5.
·
'
6
'14
'
'
Science can give us only the tools m. a, box·, Sculpture is more than painting. It is greater
mechanic~! miracleS that it haS
I
•
To raise the dead to life than to create
·us. But· of what use to us are
Phantoms that seem to live. .
. ..
tools until we have mastered the
HENRY WADSWORTH LoNGFELLOW, Mi·
tural use of them? We do not
chael Angelo, pt. iii, sec. 5.
· a world where the machine has
- 15
'
'
'
.
man; we want to live in a world
The tendency to make the capital a catch-all
has mastered the machine.
for a variet~ of monuments to .ho~or the,
· FRANK LLOYD WRI9HT, Lecture
immortals; the no-so-immo1tals; the greats.
don, May, 1939.
the near-greats, and, the no-so-greats 'must
) '
-:--
;t
I -·.·.
'
'
'
'
I
aJ'
'L
L
l··
~:
7
'
The ·higher we soar on the wings of
ihe worse our feet seem to get' em·:ang1ea
the wires.
UNKNOWN, The New Yorker:;
1931.
stop. _We must be .on our gl!ard lest the na·
tion's -capital come to r.::;··\Wlble an unplanned
cemetery. ·
HuGH 'ScoTT, Senator from Pennsylvania,
commenting on Washington, ~.C., 10
Sept., 1960.
'i
!
l
''
�Sculpture · •
814
·Each. breeze from foggy mount and manihy plain·
Dilutes
with drivel every
drizzly
brain. · · .· I
.
.
.
.
I
poeL
LORD BYRON (178~1824). English
T~e.Curse
of Minerva.
~
Sir, Jet me tell you, the noblest prospect· which a
Scotchman ever sees is' the high road that leads him to
.'
· .·· .
· [
England. .
'
'
'
'
'
4 ·
SAMUEL JOHNSON (1709-84), English author, lexicographer.
Quoted in: )ames Boswell, Life of Samuel Johnson, 6 July 176J
(1791). . .
.
I
'
Much ... rna; be.
caught young.
5
mad~ of a Scotchman; if hel be
HELEN KELLER (1880--1968), U.S. blind/deaf author, lecturer.:
TheStoryofMyLife, pt 1, c~,22 (1903).
3
1
•
.
.
4
I_
· and am obliged to desist from the experim~nt in desp~ir.
. ·
CHARLES LAMB (1775-1834). English ess.iyist, critic. The ESsays
· of Elia, "Imperfect Sympathies" (1820-23)..
'
I ·
.
GcC. LICHTENBERG (1742-99), German physicist. phi.losoprer.
Aphorisms, "Notebook L," aph. 26 (written 1765-99; tr. by Rc ).
Hollingdale, 1990). Lichtenberg added, "That is also why in J11
MARY TODD LINCOLN (1818-82). U.S. First Lady. Letter, 211
, Aug. 1869 (published in The Mary Lincoln Leiters, 1956).
·; .· .
I
i'n all rriy travels I ne~er met with any' one Scotchman but what was a man of sense: I J?elie.ve everybody of
that country that has any, leaves it as fast as they canl.
9
FRANCIS LOCKIER,(1668-1740), English prelate, man of lettbrs.
Quoted in: joseph Spence, Anecrloies, pl. 2, "1730--32" (1820).
",I
''
'' i
That garret of the e.arth-'-that knuck}e-end of England'-.that land of Calvin, oat-cakes, and sulphur.
10
SYDNEY SMITH (1771-1845), English clergyman, writer. Quoted
in: Lady
~olland, Me~oir, voL
1,
~h: 2 (1855).
. .
I
It ·reqUires a surgtcal operatton ·to get a JOke well
into a Scotch. understanding. The only ide~ of wi/, or
. rather that inferior variety of the electric ial~ht ~hich
prevails occasionally in the North, and which, unde~ the
name of "Wut," is so intinitely distressing to people of
good taste; is laughing immoderately a(stated iritervhls.
·
SYDNEY SMITH (1771-1845), En~lish clergyman, writer.
in: .La~JyHolland, Memoir, voL 1, ch. 2 (1855)
.·
See also Franklin on ARGU~ENT.
..
.'
'
The jargon of th~s~ sculptors is beyond me:· I~~ ·
not know precisely why .I admire a.green gr~nite female',
apparently pregant monster with one eye going around a
square comer.
6
THE SEA
1
Hitherto shalt thou c~me, but no further: arid h~~
shall thy proud waves be stayed.
BIBLE, l;iEilREW. God speaking to Job of his laying of.his •foun·
· dations.of the earth," in Job 38:11.
·
·
They that go down to the sea in ships,' that do business in gr,eat waters, these see the works ofthe Lord and
· his wonders in the deep.
· .
·2
BIBLE. HEBREW. Ps,1/ms 107:23-24.
3
Those who live by the sea can hardly form a single
thought of which the sea would not be part.
HERMANN BROCH (1886-195t'); Austrian novelisLTheSpe//,
Foreword (1976; tr. 19.87).
11
.
•
PABLO piCASSO (1881-:-1973)," Spanish artist. Remark,· 2 feb. r.!
1964 Quoted by artist Renato Guttuso in his journals (repr. in
Mario De Micheli, Scrirti rli Picasso, 1964).
· ·· ;
'I
. ·
.
EZRA POUND,(1885-1972), U.S. poet, critic. Egoist(London, 15
Feb. 1914).
·
·
·
· ·
a Beautiful, glorious Scotland, has ·spoilt me for
every other coun'try.!
.
l
Sculpture is the best CO!Jlment that a painter ·can
make on painting:
·
·
·
·
countries women are more prone ~o utter prophecies.~·
.
_(
Mal,;_
.5
7 . , The "~econd sight" possessed by the Highlander~. in
Scotland is actually a foreknowledge· of future events. I
believe they possess· this gift because they don't Jear
trouser~.
. , ' .
· ·
·I
·,_~
·Sculpture is the art 6f the intelligence.
PABLO. PICAS~O (1881.:1973), Spanish artist Masses and
stream (New York,- March 1948).
•
• . I have been trying. all my life to like Scotchmen,
6
The 'marble not yet ~~rved can hold the fo~
Of every thought ·the greatest artist has.
· .
MICHELANGELO BUONARROTI (147S-1564), Italian sculptO<
·. painter, poet: Sonnet 15 (tr. by Elizabeth jennings); , · · ' . '
•
SAtv~UEL )01-!NSON (1709-84). English author, lexicographer:
Quoted in: )ames Boswell, Life of Samuel johnson, Spring 1772
(1791).
2
I sometimes wonder if the hand is not more sensj. ·
)ive to the beauties of sculpture than t~e eye. I should
think the wonderful rhythmical· tlow of lines·and cur\.es ·
could be more subtly felt than seen: Be this a.c; it may, I
know that I can feel the he~rt-t~robs of.the ancient
Greeks in their marble gods and goddesses.
Q~oted
I ·.
4
As usuaJ I tinish the day bef~1re the sea, sumptuous '
·this evening beneath the moon; which writes Arab symbols with phosphorescent streaks on the siow sweJls.
There is' no end to the sky and the waters. How well they
accompany s~dness!
.ALBERT CAMUS (191·J-60). French-Algerian philosopher,
,
author. American journals (1978; 'tr. 1988), written·] july 1949,
'-'Yhile crossing the ,Atlanti~ en route to.South America~
.
The sea has never been friendly to man. At most it
has been the accomplice of human restlessness .. -
5.
JOSEPH CONRAD (1857-1924), l'olish-bo;n English novelist.
The.~irrorofthcSea, ch. 35 (1906).
SCULPTURE
Every young sculptor seems to ,think that he must
give the world. some specimen of .indecorous' worl,anhood, and call it Eve, Venus, a Nymph, ,or any namelthat
may apologize for a _lack of decent clothing. .
.
1
' NATHANIEL HAWTHORNE (1!l04-64). U:S. author. Miriam, in
The.Marblc Fau~. ch. 14 (1860).
22
f\,
The sea-this 'truth must be confessed-has no
generosity. No display o( manly qualities~ourage.
hardihood, ·endurance, faithfulness-has ever beeil
known to touch its irresponsible consciousness of power.
6
JOSEPH CONRAD (1857-1924): Polish-born English novelist..
TheMirroroftheSea,;ch. 3(>(190(,).
'
.
· .
.
�·,
'.,
138
Sculpture
!if~ is ~Ot. -·Liv Ullmann, chal-ces ', i'nsofar as our genius.: can draw' them
I ' ' out.-:- Michelangelo, Complete Poems
and Selected Letters ofMichelangelo, ed.
when
(198A ).
.
Realism
i573~·Painting 'is the representatioq of
, visible forms .... The essence of realism
is its negation of the ideal.- Gust~ve
· Courbet, ·in Gustave ~Courbet: His Lzfe
and Art, by Jack Linsa~ (1973).
l.
by Rob~rt N. Linscott (1963) ..
as
by~
Scu
1578
With chisell~d touch
The stone unhewn and cold :
Becomes a living mold.
The 1more the marble wastes·
The more the statue . grows.Michelangelo, ibid.
1579 The best artist has no cbncept
· 1574 One of-the hardest things in the
which some- si1,1gle marble d9es not
~cirld is to determine how much realism . enclose 'withiri its mass, but only the
:is allowable in any particular picture. It is
hand which obeys the intelligence ca~ ac·- ·
-of so many different kinds, too. For !incomplish' that .... Taking· away ...
stance, I want a shield or a crown or a pair
brings out a living figure in alpine and
of wings or what not, to look real. Wbll;
hard stone, which ... grows the more as·
I make what I want, or a model of it,:tHen
, the stone is· chippe'd away.· .. ~
make studies fr~m that'. So' that· what
Michel~~gelo, ibi~.
·
eventually gets onto canvas is a reflection
of a reflection of something purely ib· 1580 The statue Is then beautiful
aginary. The three Mag·i never Had
when it begins to ·be incomprehensicrowns like that, supposing theni to hive
ble. -Ralph Waldo Emerson, Essays: Art
had crowns at all, but the effect is· reali~tic
(1841).
.
' ~
'
because the crown from which the studies
made is real- arid so on. __: Ed~drd
·
. were
.
I
1581 Sculpt,ure is the ·art- of the hole
Burne-Janes, in Memonals- of Edwr;rd .
and the lump . .,..: Auguste Rodin, in Art,
· Burnejones, by Lady Georgiana Burnetrans: by Paul Gsell (1912).'
.
, .
1
Jones (1904).
1575 Realism should be defined the
. a~tithesis· of art ...... Col~ exacrimd:l is
not art, buungenwus artifice. -Eugene
Delacroix,}oufnals ofEugen'e Delacro!x,
trans. by Walter P_a~h (1937). . _
saf<
rho
I
anc
art
.ha1
'Ma
De.
mo
me
. Eg•
Mu.
.no!
rna
scu
. 'tht:
int<
·un
un•
the
wa·
:we
·rul
/
To
ffil
'
be
"
ffil
Pic
M·'
:1582 The sculpto.r does not fall below
the poet in realism.- Auguste Rodin, ·
ibid.
\
sn.
nc
Ht
19 .
I
1583 Art cannot exist without life. If
a sculptor wishes to irii:erpret joy: sorrow,
any passion .whatsoever, he will riot be'
. 15.76 Nothing is less than realism. I~ is
able to move us unless he first knows how
only by dedunion, by' elimination,
to make the beings live which he evokes.
emphasis,. .that we get at the real meapFor how could the joy or the sorrow of an
ing of things: -Georgia O'Keeffe, in
inert object-,- of a block of stone- affect
Georgia O'Keeffe:_ Portrait of an Artzlt,
us? Now, the illusion of life is obtained
. by Laurie Lisle (1980).
in our art by good modeling and by
movement. These rwo qualities are .like
; the blood apd bread of all good .work._:__
Aug'uste Rodin, ibid. .
pY
Sculpture
, .-1577 Ju~t as in p-en and ink there
high and 10\y and intermediate .
there are in marbles rich and ba5e. ·
'
'
.
hi~
Vc
br
-, sh
A.
Ft:
'
1584 Some sculpture is warin, some··
forever cold. -Robert Henri,. The Art
Spirit (1923 ).
i ·
'·
pt.
·'
�Louise . Bourgeois
·.
.
. , . -~ creat~s highly acclaimed sculptures that, although abstract . in
form, suggest the soft, sexual center 'bf living organisims - the
confused and threatened feelings of meh arid.women, their misture
Of love,· hate, pain· and rage. .
,
I
Studied geometry then- sw-itched- _to art. . • regards her art as a
comibiuition of the ,emotional· and the g~ometric.
-
I
-
..
In 1977, YaleUniversity conferred on'her an honorary doctoral
degree, saying:" "You have remirided·us through your sculpture ·that
· · art s;peaks to the human .condition. You [ have offered us powerful
symbols of our experi~nce'and o( he retations between men and
women. You
have not been. afraid
to.disturQ·our
complacency."
.
. ,
, I·
.
.
.
I
.
She. is increasingly recogni'zed as.a 'major figure- one who'gets·
to.- the core and center of human feelings.
~~:~=~ ~~v=l~~~P
~Ldhood:
town; had difficult
"Since. I did not
find a reality;~on the· outside.~, I builta whole rea.lity for
·
myself ... My life had a blueprint from the . beginning ... I was an
· artist .. I wanted to_ build ·a universe. " I
•.
it I hate the word intellectual - that· offends me •. And· I' 11 tell ...you another word that is .poison for me,l and 'that is logic~· ..
Alexander Calder
Use of wire adde~·anoth~r dimension to modernism.
· .Paul Manship
I
His art belonged to the academic tradt:i!o~ of early twentieth
' century art
0
''
-
His wo~k is pr~ised for its historical ass~ciations and for its
·perpetuation of their belqved.artistic traditions. (influenced by
ancient~greekfmiddle e~stern art).
Gaston.Lachaise
Obs~ssedfpassionatefabsorbed with modeli:ng the' female form •
. I,
David Sini t·h
.
Combined Constructivist principles with the metal-working skillls
h~ learned, in th_e mach~ne shop. _
_ I ·
.
. ~
With the Cubi series, his work
geometric, nonobjective form.
1
reach~d
a grandeur in monumental,
George Segal
. ..
·-· .
. .
.
_ _ ..
For him, the ~uman· figure ·was 'essential in the expression. of the·
human condition. · -.
.
His interest .lay· in men arid women in· their dai.ly lives,. causing
him to seek the real environment.
I
'
<
•
;
I
- · ._ ·
�
Dublin Core
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Title
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Speechwriting
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First Lady’s Office
Speechwriting
Date
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1994
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<a href="http://clinton.presidentiallibraries.us/items/show/36105">Collection Finding Aid</a>
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2012-1004-S
Description
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Within the First Lady’s Office, Speechwriting assisted with the writing and editing of the speeches given by the First Lady at various events and on various trips. This collection highlights topics relating to the arts and humanities, women’s issues and organizations, medical issues and organizations, health care, the economy, the military, and the efforts of the First Lady on behalf of candidates running in the 1994 midterm elections. It contains speeches given by the First Lady, and speeches given by President Clinton and Ira Magaziner, to a wide variety of organizations and audiences during 1994. The records include memos, notes, speech drafts, talking points, pamphlets, articles, correspondence, and newsletters.
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Clinton Presidential Records: White House Staff and Office Files
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William J. Clinton Presidential Library & Museum
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150 folders in 10 boxes
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HRC [Hillary Rodham Clinton]/Sculpture Garden 10/11/94
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First Lady’s Office
Speechwriting
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2012-1004-S
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Box 7
<a href="http://www.clintonlibrary.gov/assets/Documents/Finding-Aids/Systematic/2012-1004-S-Speechwriting.pdf">Collection Finding Aid</a>
<a href="https://catalog.archives.gov/id/1766805" target="_blank">National Archives Catalog Description</a>
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Clinton Presidential Records: White House Staff and Office Files
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42-t-7763272-20121004s-007-005
1766805