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Nasher Sculpture Center in Dallas announces major art gifts in 10th anniversary year
Sterling Ruby (German born/American, b. 1972), BASIN THEOLOGY/ViCAP, 2010. Ceramic, 10 x 38 x 39 in. Nancy A. Nasher and David J. Haemisegger Collection, Promised gift to the Nasher Sculpture Center.

DALLAS, TX.- In its 10th anniversary year, the Nasher Sculpture Center announced that it has received an unprecedented number of important gifts that have been added to its permanent collection.

“We are most grateful to the generosity of local and national donors who recognize and are helping to advance the Nasher Sculpture Center’s mission as the focal point and catalyst for the study, installation, conservation, and appreciation of modern and contemporary sculpture,” said Jeremy Strick, Director, Nasher Sculpture Center

Continuing the philanthropic tradition that brought the Nasher Sculpture Center into existence, Nancy Nasher and David Haemisegger promised key works by Thomas Houseago, Jaume Plensa, and Sterling Ruby. They were joined by a number of other collectors and foundations from around the nation who gifted altogether 18 works to the Nasher Collection in 2013.

New Acquisitions

David Bates (American, born 1952)

Man with Snake III, 2000–01 Man with Snake I, 2000
Bronze, 87 x 42 x 27 in. Charcoal on paper, 26 x 16 in.
Nasher Sculpture Center, Nasher Sculpture Center,
Gift of The Barrett Collection, Dallas Gift of The Barrett Collection, Dallas

The Nasher Sculpture Center has received a generous donation from The Barrett Collection of a sculpture and related drawing by artist David Bates. These important works represent the first sculpture and work on paper by the artist to enter the collection. Together they chronicle the development of one the artist’s most important and powerful subjects, and provide insight into Bates’ working process and close relationship of works in different media.

In a career spanning more than forty years, Bates has combined exquisite technique with a deep understanding of American modernist traditions, resulting in a body of work that is at once sophisticated, soulful, and accessible. Bates, a Dallas native and resident, was influenced early on by his passion for fishing and the natural setting of the Texas coast and lakes, as well as the vibrant people and forms of life that inhabit these worlds. The theme of the man with a snake first appeared in Bates’ 1987 painting The Dock Builder. Like many of his works, the subject derives from keen observation of life, but, in the hands of Bates, it takes on the aura of modern mythology. “The subject represents struggle to me,” said Bates of the recurring theme of man and snake, “physical, psychological, or spiritual.”

In the early 1990s, inspired by his friendship with Raymond Nasher and his experience of the Nasher Collection, Bates began to experiment with larger more ambitious sculptures in bronze at foundries in Walla Walla, Washington, and Houston, Texas. Man with Snake III embodies in bronze Bates’ intuitive process of combining found object assemblage with roughly modeled plaster that characterizes the raw and powerful sculptures of this period. The related charcoal sketch, with its pronounced stamping (smearing of material with the fingers), mirrors the rough quality of the sculpture and underlines the dynamism of the struggle between man and serpent. These works resonate with those of other painter/sculptors in the Nasher Collection who had an impact on Bates, including Pablo Picasso, Henri Matisse, and Alberto Giacometti.

Both of these works will be included in the upcoming career survey of David Bates’ work at the Nasher Sculpture Center and Modern Art Museum of Fort Worth, February 9 – May 11, 2014.

Tony Cragg (British, born 1949)

Untitled, 2003
Pencil on paper, 11 ½ x 9 ½ in.
Nasher Sculpture Center, Gift in honor of Jeremy Strick

British artist Tony Cragg has been widely hailed as one of the leading sculptors of our time, acclaimed for producing an impressive range of innovative and varied forms. In 2011, Cragg was the subject of the first US museum survey of his work in twenty years at the Nasher Sculpture Center. Along with approximately 30 large and modestly-scaled sculptures, this exhibition, Tony Cragg: Seeing Things, included a selection of drawings that introduced American audiences to this prolific and accomplished aspect of the artist’s working process. Works on paper exhibit as much diversity as Cragg’s sculptural oeuvre, from quick sketches to more thorough investigations of particular ideas in pencil on paper, to expressive reconsiderations of themes that have occupied the artist in a variety of media including watercolor, etching, and lithography. Despite strong affinities between the drawn and the sculpted works, Cragg rarely executes drawings that directly relate to particular sculptures. They are not preparatory sketches, in the traditional sense, but other “thinking models,” a way to harness the lightning flash of inspiration or reimagine a line of investigation, at any time and any place, without all of the heavily lifting sculpture requires.

The generous gift of Untitled is a unique pencil drawing that relates to a series of works on paper that imagine contorted hands or bodies as stratified masses of loosely rendered abstract forms and geometric shapes, reminiscent of mechanical gears or geologic layers. These drawings also bear formal affinities with a wide variety of sculptures that tend toward organic forms, such as the Early Forms and Rational Beings series that have occupied much of Cragg’s work over the last twenty years. Untitled is the first work on paper by Tony Cragg to enter the Nasher collection and joins major sculptural works by the artist, Glass Instruments (1987) purchased by Raymond and Patsy Nasher in 1989 and Solid States (1995), a gift made in 2003 by The Dayton Family Trust, Sky and Arwen Dayton TTES, courtesy .

Raoul Hague (American, born Turkey, 1905–1993)

Stillwater, 1952
Walnut, 45 x 24 x 27 in.
Nasher Sculpture Center, Gift of the Raoul Hague Foundation

Untitled, 1972
Walnut, 65 x 48 x 40 in.
Nasher Sculpture Center, Gift of the Raoul Hague Foundation

The Abstract Expressionist sculptor Raoul Hague worked in wood, using the modernist practice of taille directe (direct carving) with its attendant respect for the natural properties of sculptural materials and the rejection of preparatory studies and models. Long considered an “artist’s artist,” Hague lived largely away from the limelight of the art world, in Woodstock, New York. Drawing inspiration from the natural forms of the trees that provided his material, Hague worked intuitively, using hand tools to respond to the wood’s dips and angles yet also working against it to undercut and transform it.

The Raoul Hague Foundation has generously donated two major works by Hague to the Nasher Sculpture Center. The earlier work, Stillwater, is a significant historical addition to the collection, where it joins dynamically composed sculptures by Hague's New York peers, such as David Smith, John Chamberlain, Richard Stankiewicz, and Willem de Kooning. In addition, in its lingering suggestion of the torso of a recumbent figure, Stillwater will also resonate with the Nasher's sculptures by artists of an earlier generation including Aristide Maillol and Henri Matisse. It was work in the vein of Stillwater that first brought Hague to critical attention, leading to his inclusion in the Museum of Modern Art’s important 1956 Twelve Americans show and Leo Steinberg’s thoughtful essay on his art—one of the few texts on sculpture ever written by the respected critic and scholar.

The second gift, an untitled sculpture in walnut from 1972, comes from Hague’s later career and powerfully demonstrates the artist’s monumental contribution to contemporary sculpture. This work exemplifies Hague’s transformative mastery of massive natural forms. Truly a sculpture in the round, it provides an exciting and dramatic instance of his ability to create a composition that unites multiple disparate views. With the addition of these two key works, Hague joins the ranks of other artists in the Nasher’s collection to be represented by more than one work, including Henri Matisse, Pablo Picasso, Medardo Rosso, Alberto Giacometti, and David Smith. Having multiple objects by the same artist enables visitors to see how an artist’s vision both persists and changes over time. The understanding of Hague’s formidable achievements as a sculptor can only be heightened by this striking pair of works.

Thomas Houseago (British, born 1972)

Yet to be titled (peeking figure), 2012
Tuf-cal, hemp, iron rebar, and wood, 110 x 46 x 44 in.
Nancy A. Nasher and David J. Haemisegger Collection, Promised gift to the Nasher Sculpture Center

Thomas Houseago creates powerfully evocative sculptures constructed of separate, hollow parts that are, at turns, imposing and vulnerable. His sculptures, like Yet to be titled (peeking figure), present a particularly expressive form of representation, with Houseago playing a formal game between three-dimensional mass and two-dimensional flattening, at times incorporating linear, gestural, and drawn elements into his sculptures. “I really like the idea of a sculpture that becomes invisible at some point,” he noted. “A lot of my work has to do with movement: it appears, disappears. I’m especially fascinated by pieces that shape-shift.”

Yet to be titled (peeking figure) has an armature seemingly covered in ropy coils of plaster retaining the gouges and finger marks of its making. The broadly gestural surface modeling recalls the work of modernist predecessors like Auguste Rodin, Alberto Giacometti, and Willem De Kooning. The work is at once menacing and sympathetic: it towers over the viewer yet strikes a playful pose, coyly peering out from underneath its massive arm wrapped over its head. One’s initial perception of the work’s mass is disrupted by the discovery of a skeleton of iron bars and wood supports in its exposed central cavity. Houseago underlines the figure’s constructed nature by exaggerating its contraposto stance, turning the torso ninety degrees from the legs, and jauntily resting its hand on hip. This generous gift from Nancy A. Nasher and David Haemisegger extends the humanist legacy established by Houseago’s modernist predecessors into the 21st century.

Dr. Lakra (Jerónimo López Ramírez) Mexican, born 1972

Dr. Lakra’s Lexikon, 2010
Cast and hand etched objects in a bound leather box, Box: 10 5/8 x 13 1/4 x 3 3/4 in. Nasher Sculpture Center. Gift of Anthony Nicholas

The Oaxaca-based artist, Dr. Lakra (born Jerónimo López Ramírez) is best known for translating his training as a tattoo artist into an artistic practice of embellishing plastic baby dolls, vintage Mexican magazines, and other found print material with tattoo designs that recall the diverse body art traditions from Chicano, Maori, Thai, and Philippine cultures. Lakra earned his nickname early on in his career as a tattoo artist – “Dr.” because he carried his equipment in a doctor’s bag and “lacra”, which refers to scars left by disease or illness. In Mexico, the alternate spelling of “lakra” is used as slang to refer to juvenile delinquents or lowlifes; therefore Lakra’s nickname loosely translates to “Dr. Delinquent,” an oxymoron in itself. Though Lakra is best known in some circles for his tattoo art, he has formal training with Mexico’s famous Gabriel Orozco, having studied under him during a workshop with fellow Mexican artists Gabriel Kuri, Abraham Cruzvillegas, and Damian Ortega. Citing the early twentieth century caricatures of Germans George Grosz and Otto Dix, as well as the late nineteenth and early twentieth century illustrations of Mexican José Gaudalupe Posada as influences, Lakra’s own style of draftsmanship combines the traditional iconography of Posada, with the caustic critique of the Germans’ social commentary and includes references to gang and prison cultures.

During a residency with the Lapis Press in Culver City, California in 2010, Lakra created the editioned work, Dr. Lakra’s Lexikon, a bound leather box made to look like a book that holds four distinct objects, each bearing the varying techniques of the artist: a hand-tattooed baby doll arm, a scrimshawed whale tooth, a hand-tattooed cup, and a wooden carved skull. Like Marcel Duchamp’s Boîte-en-valise, Lakra has created a kind of miniature monograph of the various kinds of objects and themes in his work: tattoos, skulls, snakes, teardrops on cartoon faces (indicating the number of murders committed by the bearer), baby dolls, pin-ups, and Aztec iconography. The act of creating a box to hold his works is also a nod his earlier tendency of carrying his equipment around with him. Lakra’s extends the exploration of high and low cultures and use of found objects and imagery found in the sculptures of John Chamberlain, Claes Oldenburg, and Jeff Koons, also in the Nasher Collection.

James Magee (American, born 1946)

Mine Shaft, c. 1995–98
Steel, shatterproof glass, rubber, staples, salt, and rust water, 48 x 64 x 6 ½ in.
Carol and Peter York, Promised gift to the Nasher Sculpture Center

Untitled, 2010
Pen and ink, and marker on paper, 22 3/8 x 30 1/8 in.
Nasher Sculpture Center, Gift of Kirk Hopper Fine Art

Untitled, 2009
Pen and ink, and watercolor on paper, 22 ¼ x 30 in.
Nasher Sculpture Center, Gift of Kirk Hopper Fine Art

Untitled, 2011
Pen and ink, marker, and watercolor on paper, 22 3/8 x 30 in.
Nasher Sculpture Center, Gift of Kirk Hopper Fine Art

Untitled, 2010
Pen and ink, marker, and watercolor on paper, 22 3/8 x 30 in.
Nasher Sculpture Center, Gift of Kirk Hopper Fine Art

Untitled, 2010
Pen and ink, pencil, and marker on paper, 22 5/16 x 30 1/8 in.
Nasher Sculpture Center, Gift of Kirk Hopper Fine Art

In 2010, the Nasher Sculpture Center mounted Revelation: The Art of James Magee, then the first major museum exhibition of the artist in almost twenty years. The exhibition featured the artist’s rarely seen studio work, introducing a new generation to his welded steel constructions that often incorporate ephemeral materials such as glass, oil, and earth. It also coincided with the publication of the first monograph dedicated to Magee and his extraordinary art and architectural installation in the desert near El Paso, The Hill.

This fall the Nasher Sculpture Center received several important gifts of the work of James Magee, related to the Nasher exhibition and The Hill. Visitors to Revelation will surely recall Mine Shaft, a powerful composition of weathered steel, rubber, glass, oil, salt, and rust—run through with enormous threaded bolts—featured prominently in the exhibition. The relief composition embodies the sensitivity to materials that distinguishes Magee’s work. At turns industrial and sensuous, obdurate and ephemeral, muscular and frail, Magee’s sculptural assemblage is one of the most powerful summations of the artist’s work. In 2013, Carol and Peter York made Mine Shaft a promised gift to the Nasher Sculpture Center.

Equally important to the works are their elaborate “titles,” extended poems that the artist intones from memory only for the rare, fortunate visitor. Magee’s titles are integral elements of the work of art, as essential as the masses of material that make up their physical structure. Not all works receive extended titles, but, once they do, the experience of the work is incomplete without it. The title offers a vast expansion of the potential meaning of the work of art, suggesting a myriad of additional images or readings. Like stream of consciousness beat poems or post-surrealist narratives, the titles are an amalgam of personal details, memories, imagined encounters, theatre, and fantasy. In preparation for the Revelation exhibition, the Nasher recorded Magee reciting many of the “titles,” including the one for Mine Shaft. These rare recordings now reside in the Nasher Sculpture Center archive. Through the veneration of the lowly detritus of our everyday lives, Magee’s work powerfully evokes the transient nature of our human condition and gives sensitive, impassioned voice to our daily struggles, longings, and desires.

The Nasher Sculpture Center also received a generous gift of five drawings by James Magee from Kirk Hopper in Dallas. The drawings, an essential yet largely undiscovered part of Magee’s practice, range from energetically worked pen and ink sketches of various aspects of The Hill—often with notes and marginalia—to fluid watercolor renderings of motifs to explore or unrealized projects. These drawings, in combination with the promised gift of Mine Shaft and the Nasher recordings of the artist, comprise a growing and significant archive of the varied work of this important artist.

Claes Oldenburg (American, born Sweden, 1929)

Portrait of Alan Whitney, 1958
Oil on canvas, 49 x 39 ½ in.
Nasher Sculpture Center, Gift of the Rajala Family

A rare early work, Portrait of Alan Whitney, an oil on canvas painting from 1958, comes from a moment in Claes Oldenburg’s career just before he put aside painting portraits and figures in favor of sculpture. Over the five decades that followed, he has made a rich body of work exploring the vibrancy of urban life and the everyday consumer objects that surround us, including the Nasher’s own Mannekin Torso, Typewriter Eraser and Clothespin. But even in this portrait of his friend Alan Whitney, who worked as an editor at the New York Post at the time, Oldenburg’s gestural line and observational skills are already much in evidence. A restrained palette and brushy fluidity characterizes the relaxed portrait of Whitney, seated with legs crossed, hands in lap, wearing a black shirt and dark sunglasses. Although the artist would soon shift his energies to sculpture, this painting foretells the spontaneous rapidity of his later sketches and studies for sculptures and public projects. The painting was a gift from Oldenburg to his friend Whitney, who then gave it to Constance Rajala. The Nasher Sculpture Center is grateful to the Rajala family for their generous donation.

Jaume Plensa (Spanish, born 1955)

The Long Night (From Ausias March to Vicent Andrés Estellés)
[La Llarga Nit (de Ausias March a Vicent Andrés Estellés)], 2007
Stainless steel, polyester resin, and light, each 472 3/8 x 59 7/8 x 51 ½ in.
Nancy A. Nasher and David J. Haemisegger Collection, Promised gift to the Nasher Sculpture Center

In 2010, Jaume Plensa: Genus and Species became the first exhibition organized by the Nasher Sculpture Center to present the work of a living artist. Two versions of Plensa’s illuminated sculpture The Long Night (from Ausias March to Vicent Andrés Estellés) were installed outside the museum on Flora Street for the exhibition, and they have remained there since, their distinctive, ever-changing glow becoming a beloved fixture of the Arts District. As a promised gift, the two crouched figures of The Long Night join another two-component Plensa in the Nasher collection, Song of Songs III and IV – among the last works that Raymond D. Nasher purchased, and the inspiration for Jaume Plensa: Genus and Species.

For nearly a quarter of a century, Spanish sculptor Jaume Plensa has been investigating the intimate connection between nature and culture through large-scale sculptures and installations that incorporate light, sound, and text in transparent, often interactive structures. The most prominent of these in the United States is the incredible Crown Fountain at Millennium Park in Chicago, two 50-foot-tall glass block towers projecting the faces of ordinary Chicagoans and occasionally showering the viewers below with water. Like this ingenious update on the tradition of the public fountain, Plensa’s works offer a visceral experience of the nexus between art, technology, biology, and metaphysics through evocative forms that probe the power and limits of communication. The Long Night presents both body and sculpture as a source of energy and vehicle for communication. Perched high above the street, the figures act as beacons, emitting a mysterious message in a shower of changing light. The title refers to two great Valencian poets, Ausias March and Vicent Andrés Estellés, and derives from an Estellés poem that characterizes the poet as a sentinel:

And you will hunger and you will thirst,
You will not be able to write poems
And you will stay silent throughout the night
While your people still sleep,
And you alone will be awake,
And you will be awake for all of them.
You were not born to sleep:
You were born to stay awake
in the long night of your people.
You will be their living word,
Their living word so bitter.

Presenting two different versions of The Long Night, differing only in the rate at which the lights change colors, creates a sort of dialogue between them, highlighting the themes of communication and duality that run throughout Plensa’s work.

Sterling Ruby (American, born Germany, 1972)

Ceramic, 10 x 38 x 39 in.
Nancy A. Nasher and David J. Haemisegger Collection, Promised gift to the Nasher Sculpture Center

Sterling Ruby is a multimedia artist who works in a variety of materials including ceramics, painting, collage, polyurethane, and video. Many times his works transform into full-scale installations that reveal the interdisciplinary nature of his studio practice. With an interest in process, psychology, urban culture, and industry, his objects tend to be biomorphic in form and allegorical in content, referencing the burdens that plague contemporary existence. His two-dimensional works incorporate the modernist techniques of collage, mixing found objects with non-traditional materials like nail polish, while his three-dimensional sculptures and installations tend to reference geological formations like stalagmites and the archaeology of the urban landscape. Themes of marginalization, defacement, and decay permeate his works.

Adam Silverman and Nader Tehrani (American, born 1963 and American, born England, 1963)

Boolean Valley, 2009
Clay, dimensions variable
Nasher Sculpture Center

In 2010, the Nasher Sculpture Center presented Boolean Valley, a collaborative work in clay by the potter Adam Silverman and the architect Nader Tehrani, and forerunner to the museum’s Sightings series of installations and architectural interventions by contemporary artists. Boolean Valley was purchased by the Nasher in 2013, and it will go on view again this spring.

Boolean Valley explores the intersection between architectural precision and handmade craft by subjecting the intuitive and tactile process of ceramics to the stringency of Boolean logic. Named after mathematician George Boole, Boolean logic rationalizes the intersection of two or multiple sets. Today, it is most often used to narrow internet searches, but is also employed in architecture and design as an operation in digital modeling to add or subtract from volumes, thereby creating new forms. Silverman and Tehrani used Boolean logic to determine the shape and configuration of nearly 400 cut clay objects, creating a topographic landscape within the space of the museum.

The installation of the objects changes according the parameters of the space in which they will be displayed. For the 2010 exhibition at the Nasher, the artists adapted the configuration to one of the ponds at the end of the garden. In that case, the surface of the water acted as a transparent plane intersecting the conical and domed shapes, fired cobalt blue or charcoal black with distinctive craters and bumps from the silicon carbide in the glaze. Plunging into, rising from, or just skimming the top of the water, the arrangement of the ceramic forms produced an effect much greater than the sum of its parts.

Peter Voulkos (American, 1924–2002)

Alhambra, 1999
Wood-fired stoneware, 45 x 24 ¾ x 22 in.
Wendy Barrie Brotman, Promised gift to the Nasher Sculpture Center

During his 5- year career, Peter Voulkos transformed ceramics into a medium for personal expression and dramatic gesture as few artists before him had attempted. Although skilled at creating elegant wheel-turned earthenware, Voulkos diverged from traditional ceramics after coming into contact with the scale and spontaneity of the art of such Abstract Expressionist artists as Willem de Kooning, Franz Kline, and Phillip Guston. Voulkos soon turned to unconventional tools and techniques—from dough-mixing machines to a wax-resist technique appropriated from printmaking—to make large-scale ceramic sculptures of uncommon ambition and resonance. His impassioned, risk-taking approach has influenced subsequent generations of artists.

Alhambra, a promised gift to the Nasher from Los Angeles collector wendy Barrie Brotman, is a fine late example of Voulkos’ mastery. Massively scaled and riddled with apparent fractures, the sculpture appears both enduring and vulnerable, like a reconstructed archaeological discovery. One of a type of work the artist designated “stacks,” Alhambra’s form suggests a vessel as well as a kiln or even a sort of architecture. Voulkos’ creative use of clay rivals Pablo Picasso’s very different use of the material in the Nasher’s Flowers in a Vase, while the human scale of Alhambra’s shattered vessel shares an existential kinship with other works in the collection, from de Kooning’s painterly handling of plaster in Clamdigger to Alberto Giacometti’s haunting busts of his brother, Diego. Visitors to the Nasher Sculpture Center this past fall will remember seeing Alhambra on view with these works from the Nasher collection, complementing the ceramic sculptures of Lucio Fontana, Fausto Melotti, Joan Miró, Isamu Noguchi, and Picasso in the Return to Earth exhibition.

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