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Spain","activity":null,"lifeDates":null},{"id":315,"objectID":6062,"name":"unknown maker from Sumeria","activity":null,"lifeDates":null},{"id":316,"objectID":6070,"name":"unknown maker from Sumeria","activity":null,"lifeDates":null},{"id":373,"objectID":14854,"name":"unknown maker from Sweden","activity":null,"lifeDates":null},{"id":381,"objectID":18345,"name":"unknown maker from Switzerland","activity":null,"lifeDates":null},{"id":487,"objectID":62031,"name":"unknown maker from the United States","activity":null,"lifeDates":null},{"id":1,"objectID":258,"name":"unknown maker from the United States","activity":null,"lifeDates":null},{"id":318,"objectID":6219,"name":"unknown maker from the United States","activity":null,"lifeDates":null},{"id":229,"objectID":52091,"name":"unknown maker from the United States","activity":null,"lifeDates":null},{"id":320,"objectID":6301,"name":"unknown maker from the United States","activity":null,"lifeDates":null},{"id":209,"objectID":44809,"name":"unknown maker from Tibet","activity":null,"lifeDates":null},{"id":612,"objectID":32931,"name":"unrecorded Achomawi, Northern Maidu, or Shasta artist","activity":null,"lifeDates":null},{"id":202,"objectID":43979,"name":"unrecorded Akan artist","activity":null,"lifeDates":null},{"id":446,"objectID":43831,"name":"unrecorded Akan artist","activity":null,"lifeDates":null},{"id":451,"objectID":43978,"name":"unrecorded Akan artist","activity":null,"lifeDates":null},{"id":452,"objectID":43980,"name":"unrecorded Akan artist","activity":null,"lifeDates":null},{"id":453,"objectID":43981,"name":"unrecorded Akan artist","activity":null,"lifeDates":null},{"id":614,"objectID":34319,"name":"unrecorded Akimel O'odham (Pima) artist","activity":null,"lifeDates":null},{"id":667,"objectID":34379,"name":"unrecorded Asante artist","activity":null,"lifeDates":null},{"id":477,"objectID":58655,"name":"unrecorded Asante 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artist","activity":null,"lifeDates":null},{"id":662,"objectID":34347,"name":"unrecorded Asante artist","activity":null,"lifeDates":null},{"id":656,"objectID":34330,"name":"unrecorded Asante artist","activity":null,"lifeDates":null},{"id":663,"objectID":34357,"name":"unrecorded Asante artist","activity":null,"lifeDates":null},{"id":666,"objectID":34378,"name":"unrecorded Asante artist","activity":null,"lifeDates":null},{"id":665,"objectID":34373,"name":"unrecorded Asante artist","activity":null,"lifeDates":null},{"id":566,"objectID":41900,"name":"unrecorded Azande artist","activity":null,"lifeDates":null},{"id":171,"objectID":39214,"name":"unrecorded Bassa artist","activity":null,"lifeDates":null},{"id":677,"objectID":31733,"name":"unrecorded Bini artist","activity":null,"lifeDates":null},{"id":678,"objectID":37673,"name":"unrecorded Bini artist","activity":null,"lifeDates":null},{"id":610,"objectID":32382,"name":"unrecorded Chokwe artist","activity":null,"lifeDates":null},{"id":611,"objectID":32399,"name":"unrecorded Chokwe artist","activity":null,"lifeDates":null},{"id":429,"objectID":38863,"name":"unrecorded Din\u00e9 (Navajo) artist","activity":null,"lifeDates":null},{"id":464,"objectID":46120,"name":"unrecorded Din\u00e9 (Navajo) artist","activity":null,"lifeDates":null},{"id":143,"objectID":31730,"name":"unrecorded Dogon artist","activity":null,"lifeDates":null},{"id":435,"objectID":41927,"name":"unrecorded Frafra artist","activity":null,"lifeDates":null},{"id":639,"objectID":44013,"name":"unrecorded Hausa-Fulani artist","activity":null,"lifeDates":null},{"id":618,"objectID":35150,"name":"unrecorded Hawazma artist","activity":null,"lifeDates":null},{"id":434,"objectID":41915,"name":"unrecorded Igala artist","activity":null,"lifeDates":null},{"id":629,"objectID":41910,"name":"unrecorded Igbo artist","activity":null,"lifeDates":null},{"id":426,"objectID":37444,"name":"unrecorded Kha\u2019Po Owingeh (Santa Clara) artist","activity":null,"lifeDates":null},{"id":444,"objectID":43829,"name":"unrecorded Kissi artist","activity":null,"lifeDates":null},{"id":445,"objectID":43830,"name":"unrecorded Kissi artist","activity":null,"lifeDates":null},{"id":145,"objectID":32144,"name":"unrecorded Mamluk artist","activity":null,"lifeDates":null},{"id":436,"objectID":41928,"name":"unrecorded Matakam artist","activity":null,"lifeDates":null},{"id":613,"objectID":33260,"name":"unrecorded Musqueam artist","activity":null,"lifeDates":null},{"id":433,"objectID":41914,"name":"unrecorded Nupe artist","activity":null,"lifeDates":null},{"id":418,"objectID":31746,"name":"unrecorded Nupe artist","activity":null,"lifeDates":null},{"id":627,"objectID":39437,"name":"unrecorded Tohono O'odham (Papago) artist","activity":null,"lifeDates":null},{"id":567,"objectID":41906,"name":"unrecorded Wushi artist","activity":null,"lifeDates":null},{"id":432,"objectID":41883,"name":"unrecorded Zulu artist","activity":null,"lifeDates":null},{"id":42,"objectID":9446,"name":"van Tilborgh, Gillis","activity":null,"lifeDates":"circa 1625\u2013circa 1678"},{"id":335,"objectID":9713,"name":"van Troyen, Rombout","activity":null,"lifeDates":"1605\u20131656"},{"id":368,"objectID":14313,"name":"Vedder, Elihu","activity":null,"lifeDates":"1836\u20131923"},{"id":109,"objectID":19470,"name":"Wagenfeld, Wilhelm","activity":"Germany","lifeDates":"1900\u20131990"},{"id":605,"objectID":22691,"name":"WalkingStick, Kay","activity":"United States","lifeDates":"born 1935"},{"id":609,"objectID":32274,"name":"Watson, Luke","activity":"Canada","lifeDates":"died 1948"},{"id":583,"objectID":9645,"name":"West, Benjamin","activity":null,"lifeDates":"1738\u20131820"},{"id":682,"objectID":43411,"name":"Wiley, Kehinde","activity":"United States","lifeDates":"born 1977"},{"id":219,"objectID":46656,"name":"Wiley, William T.","activity":null,"lifeDates":"1937\u20132021"},{"id":200,"objectID":43957,"name":"Wilner","activity":"Haiti","lifeDates":null},{"id":355,"objectID":12448,"name":"Wong, Albert Y.","activity":null,"lifeDates":"born 1947"},{"id":376,"objectID":17818,"name":"Wood, Beatrice","activity":null,"lifeDates":"1893\u20131998"},{"id":588,"objectID":10103,"name":"Wood, Grant","activity":"United States","lifeDates":"1891\u20131942"},{"id":439,"objectID":43107,"name":"Wu Chi-Tsung","activity":null,"lifeDates":"born 1981"},{"id":440,"objectID":43353,"name":"Wu Chi-Tsung","activity":null,"lifeDates":"born 1981"},{"id":23,"objectID":5139,"name":"Yan Yutian","activity":"China","lifeDates":"active 1895\u20131918"},{"id":455,"objectID":44958,"name":"Yangshao culture","activity":null,"lifeDates":null},{"id":205,"objectID":44237,"name":"Yeesookyung","activity":"United States","lifeDates":"born 1963"},{"id":628,"objectID":41738,"name":"Yoshida, Chizuko","activity":"Japan","lifeDates":"1924\u20132017"},{"id":66,"objectID":12481,"name":"Zaganelli, Francesco di Bosio","activity":"Italy","lifeDates":"circa 1470\u20131532"},{"id":78,"objectID":13411,"name":"Zitman, Cornelis Jacominus","activity":"Venezuela","lifeDates":"1926\u20132016"},{"id":554,"objectID":16813,"name":"\u68ee\u91ce\u6cf0\u660e Morino Hiroaki","activity":"Japan","lifeDates":"born 1934"},{"id":564,"objectID":41566,"name":"\uae40\uc775\uc601\/\u91d1\u76ca\u5be7 Kim Yik-yung","activity":"South Korea","lifeDates":"born 1935"},{"id":685,"objectID":60147,"name":"\uae40\ud654\ud604 \u91d1\u548c\u8ce2 Kim Hwa Hyun","activity":null,"lifeDates":"born 1978"}],"ArtObject":[{"id":1,"objectID":258,"title":"Nuestra Senora de la Soledad, Bultos figure","accessionNumber":"0000.0193","geoAssoc":"United States","currLoc":"401, Loo Gallery, 401, Cabinet F3","alias":"","objectDate":"1800s","material":"wood, paint","creditLine":"Source unknown","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76271,"collectionID":3397,"collectionType":"exhibition","description":"In the Christian faith, Nuestra Senora de la Soledad (Our Lady of Solitude) is a title given to Mary, the mother of Jesus. It is used in Spanish-speaking countries to commemorate the solitude and grief of Mary on Holy Saturday, the night before Easter Sunday, when the body of Jesus lay in his tomb. Figures like this one that were carved in the round are referred to as revultos or bultos.","displayDescription":"In the Christian faith, Nuestra Senora de la Soledad (Our Lady of Solitude) is a title given to Mary, the mother of Jesus. It is used in Spanish-speaking countries to commemorate the solitude and grief of Mary on Holy Saturday, the night before Easter Sunday, when the body of Jesus lay in his tomb. Figures like this one that were carved in the round are referred to as revultos or bultos."}],"dimensionalData":[{"dimID":9514,"dimensions":"375 x 150 x 92 mm","description":"Object Height\/Width\/Depth"},{"dimID":45626,"dimensions":"14 3\/4 x 5 7\/8 x 3 5\/8 in","description":"Object Height\/Width\/Depth"}]},{"id":3,"objectID":820,"title":"Still Life with Violin and Engraving of Arcangelo Corelli","accessionNumber":"0000.0756","geoAssoc":"Netherlands","currLoc":"406, Stewart Gallery, 406, W4","alias":"","objectDate":"circa 1730","material":"oil, canvas","creditLine":"Museum purchase","exhibition":[{"id":3397,"priority":null},{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76223,"collectionID":3397,"collectionType":"exhibition","description":"Bright light illuminates an arrangement of objects that includes a fanciful drinking cup fashioned from an ostrich egg and a large lidded jar. The lemon peel, dangling in a spiral over the edge of a silver salver, reveals glistening flesh that appeals simultaneously to the viewer\u2019s taste and sight. The engagement of the senses continues with the violin. An engraving of Arcangelo Corelli, a celebrated Italian composer and violinist, evokes the experience of hearing a performance of Corelli\u2019s compositions.","displayDescription":"Bright light illuminates an arrangement of objects that includes a fanciful drinking cup fashioned from an ostrich egg and a large lidded jar. The lemon peel, dangling in a spiral over the edge of a silver salver, reveals glistening flesh that appeals simultaneously to the viewer\u2019s taste and sight. The engagement of the senses continues with the violin. An engraving of Arcangelo Corelli, a celebrated Italian composer and violinist, evokes the experience of hearing a performance of Corelli\u2019s compositions."},{"descriptionID":78651,"collectionID":3475,"collectionType":"exhibition","description":"Light illuminates an arrangement of objects that includes a drinking cup fashioned from an ostrich egg, a blue and white porcelain jar, and imported citrus fruits on a silver tray. These luxury goods became available to Dutch middle- and upper-class consumers as a result of Dutch colonialism and trade power. While this painting celebrates the acquisition of these goods, it ignores the human suffering of the transatlantic slave trade that was intrinsically linked to their availability.","displayDescription":"Light illuminates an arrangement of objects that includes a drinking cup fashioned from an ostrich egg, a blue and white porcelain jar, and imported citrus fruits on a silver tray. These luxury goods became available to Dutch middle- and upper-class consumers as a result of Dutch colonialism and trade power. While this painting celebrates the acquisition of these goods, it ignores the human suffering of the transatlantic slave trade that was intrinsically linked to their availability."}],"dimensionalData":[{"dimID":21943,"dimensions":"120 x 119.8 cm","description":"Canvas\/Support"},{"dimID":21944,"dimensions":"47 1\/4 x 47 1\/8 in","description":"Canvas\/Support"},{"dimID":169213,"dimensions":"47 x 46 3\/4 x 3 in","description":"Frame Dimensions"}]},{"id":4,"objectID":961,"title":"At the Window (Portrait of Mlle. Galloo)","accessionNumber":"0000.0898","geoAssoc":"United States","currLoc":"317, Perkins Central Court, 317, E1","alias":"","objectDate":"1903","material":"oil, artist board","creditLine":"Gift from the Estate of Mlle. Galloo","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76213,"collectionID":3397,"collectionType":"exhibition","description":"Mademoiselle\u202fEugenie H. Galloo was a professor of romance languages at the University of Kansas and the first president of the Kansas Modern Language Association. Framed by\u202flush draperies, she sits quietly reading\u202fa book\u202fin\u202fa\u202frelaxed pose,\u202findicating her academic\u202fcompetence.\u202fWhen she sat for this work on a snowy day in\u202f1903, Galloo had become a success and would continue her career for 37 more years until her death in 1941.","displayDescription":"Mademoiselle\u202fEugenie H. Galloo was a professor of romance languages at the University of Kansas and the first president of the Kansas Modern Language Association. Framed by\u202flush draperies, she sits quietly reading\u202fa book\u202fin\u202fa\u202frelaxed pose,\u202findicating her academic\u202fcompetence.\u202fWhen she sat for this work on a snowy day in\u202f1903, Galloo had become a success and would continue her career for 37 more years until her death in 1941."}],"dimensionalData":[{"dimID":85376,"dimensions":"16.5 x 25.7 cm","description":"Canvas\/Support"},{"dimID":85380,"dimensions":"6 1\/2 x 10 1\/8 in","description":"Canvas\/Support"}]},{"id":5,"objectID":963,"title":"Portrait of Ramirez-Cantillana","accessionNumber":"0000.0900","geoAssoc":"Mexico","currLoc":"317, Perkins Central Court, 317, W1","alias":"","objectDate":"late 1700s","material":"oil, canvas","creditLine":"Source unknown","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76268,"collectionID":3397,"collectionType":"exhibition","description":"This portrait features Ram\u00edrez-Cantillana, a Catholic priest who was born in 1748. Although his first name is obscured, his last name links him with fellow Catholic priest Jos\u00e9 Antonio Alzate y Ram\u00edrez (1737\u20131799) and Catholic nun Sor Juana In\u00e9s de la Cruz (1651\u20131695). They were both important philosophers in New Spain, a territory of Spain that covered much of modern Mexico and the United States.\r\n\r\nAccording the portrait\u2019s inscription, Ramirez-Cantillana received \u201cdos ordenes sacros,\u201d or two holy orders on November 3, 1771. The inscription identifies him as coming from Mexico rather than New Spain. Many of Mexico\u2019s Catholic clergy during the late 1700s were creole, or people of Spanish descent born in the Americas, rather than Spanish. Many creole priests were leading cultural promoters and thinkers, including Miguel Hidalgo y Costilla (1753\u20131811) who called for Mexico\u2019s independence in 1810.","displayDescription":"This portrait features Ram\u00edrez-Cantillana, a Catholic priest who was born in 1748. Although his first name is obscured, his last name links him with fellow Catholic priest Jos\u00e9 Antonio Alzate y Ram\u00edrez (1737\u20131799) and Catholic nun Sor Juana In\u00e9s de la Cruz (1651\u20131695). They were both important philosophers in New Spain, a territory of Spain that covered much of modern Mexico and the United States.\r\n\r\nAccording the portrait\u2019s inscription, Ramirez-Cantillana received \u201cdos ordenes sacros,\u201d or two holy orders on November 3, 1771. The inscription identifies him as coming from Mexico rather than New Spain. Many of Mexico\u2019s Catholic clergy during the late 1700s were creole, or people of Spanish descent born in the Americas, rather than Spanish. Many creole priests were leading cultural promoters and thinkers, including Miguel Hidalgo y Costilla (1753\u20131811) who called for Mexico\u2019s independence in 1810."}],"dimensionalData":[{"dimID":155808,"dimensions":"13 x 10 3\/8 in","description":"Frame Dimensions"}]},{"id":7,"objectID":1315,"title":"head of Buddha","accessionNumber":"0000.1257","geoAssoc":"Hadda, Gandhara (present-day Afghanistan)","currLoc":"401, Loo Gallery, 401, Cabinet C2","alias":"","objectDate":"500s, Sasanian dynasty (224\u2013651)","material":"stucco","creditLine":"Source unknown","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76392,"collectionID":3397,"collectionType":"exhibition","description":"This object may have originated in Hadda, the site of a large number of Buddhist sculptural and architectural remains located in modern-day Afghanistan. Under the Gupta dynasty (third century\u2013543 CE), stucco sculptural production flourished at Hadda and other sites in the region, then called Gandhara.  \r\n\r\nAt Hadda, stucco and clay sculptures line the bases of many mound-shaped monuments called stupas. This delicately modeled head renders the features of a Buddha. The protrusion  at the crown of the head (u\u1e63\u1e47\u012b\u1e63a) is one of the major physical signs of the Buddha and serves as an indication of wisdom and enlightenment. His heavy-lidded gaze and the enigmatic curve of his lips exude tranquility and reassurance. The wave-like texture of his hair echoes a centuries-old Gandharan style that appeared in the earliest figural depictions of the Buddha, while the softer, more rounded facial shape denotes Gupta-era aesthetics.","displayDescription":"This object may have originated in Hadda, the site of a large number of Buddhist sculptural and architectural remains located in modern-day Afghanistan. Under the Gupta dynasty (third century\u2013543 CE), stucco sculptural production flourished at Hadda and other sites in the region, then called Gandhara.  \r\n\r\nAt Hadda, stucco and clay sculptures line the bases of many mound-shaped monuments called stupas. This delicately modeled head renders the features of a Buddha. The protrusion  at the crown of the head (u\u1e63\u1e47\u012b\u1e63a) is one of the major physical signs of the Buddha and serves as an indication of wisdom and enlightenment. His heavy-lidded gaze and the enigmatic curve of his lips exude tranquility and reassurance. The wave-like texture of his hair echoes a centuries-old Gandharan style that appeared in the earliest figural depictions of the Buddha, while the softer, more rounded facial shape denotes Gupta-era aesthetics."}],"dimensionalData":[{"dimID":162783,"dimensions":"28.5 x 12.5 x 10 cm including mount","description":"Object Height\/Width\/Depth"},{"dimID":162784,"dimensions":"11 1\/4 x 4 15\/16 x 3 15\/16 in including mount","description":"Object Height\/Width\/Depth"}]},{"id":8,"objectID":1350,"title":"vase","accessionNumber":"0000.1292","geoAssoc":"Vineland, New Jersey, United States","currLoc":"401, Loo Gallery, 401, Cabinet B3","alias":"","objectDate":"circa 1926\u20131928","material":"blown glass","creditLine":"Source unknown","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[]},{"id":9,"objectID":4228,"title":"plate with Mt. Fuji and pine trees","accessionNumber":"1928.1650","geoAssoc":"Japan","currLoc":"401, Loo Gallery, 401, Cabinet E4","alias":"","objectDate":"1800s, Edo period (1600\u20131868) or Meiji period (1868\u20131912)","material":"porcelain, glaze","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":50039,"dimensions":"7.3 x 28.2 cm","description":"Object Height\/Diameter"},{"dimID":50040,"dimensions":"2 7\/8 x 11 1\/8 in","description":"Object Height\/Diameter"}]},{"id":10,"objectID":4334,"title":"\u85e5\u5e2b\u4f5b Yaoshi fo (Medicine Buddha)","accessionNumber":"1928.1791","geoAssoc":"China","currLoc":"406, Stewart Gallery, 406, W2","alias":"","objectDate":"late 1500s\u2013early 1600s, Ming dynasty (1368\u20131644)","material":"bronze, gilding, pigment","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3397,"priority":null},{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76305,"collectionID":3397,"collectionType":"exhibition","description":"This cast-bronze gilded sculpture represents the Buddha associated with healing and medicine. The Medicine Buddha is seated in a meditation pose and holds a myrobalan fruit in his right hand. This fruit is native to India, Nepal, Sri Lanka, and southwestern China, and is frequently used in traditional medicine. Other representations of the Medicine Buddha sometimes include a medicine pot or bowl in his left hand.  \r\n\r\nThis Medicine Buddha may have originally been a part of a sculptural triad. The other two sculptures, identified as Sakyamuni (the historical Buddha) and Amitabha (the Buddha of the Western Paradise), are now located in the Abby Aldrich Rockefeller Garden in Maine. In the Mahayana tradition of Buddhism, Sakyamuni, Amitabha, and the Medicine Buddha represent the founder, consoler, and healer.","displayDescription":"This cast-bronze gilded sculpture represents the Buddha associated with healing and medicine. The Medicine Buddha is seated in a meditation pose and holds a myrobalan fruit in his right hand. This fruit is native to India, Nepal, Sri Lanka, and southwestern China, and is frequently used in traditional medicine. Other representations of the Medicine Buddha sometimes include a medicine pot or bowl in his left hand.  \r\n\r\nThis Medicine Buddha may have originally been a part of a sculptural triad. The other two sculptures, identified as Sakyamuni (the historical Buddha) and Amitabha (the Buddha of the Western Paradise), are now located in the Abby Aldrich Rockefeller Garden in Maine. In the Mahayana tradition of Buddhism, Sakyamuni, Amitabha, and the Medicine Buddha represent the founder, consoler, and healer."},{"descriptionID":78665,"collectionID":3475,"collectionType":"exhibition","description":"This bronze sculpture was purchased in 1920 by Sallie Casey Thayer as part of her founding gift that established an art museum at the University of Kansas. Research on the sculpture\u2019s provenance\u2014the history of an object\u2019s ownership, location, or custody\u2014suggests it was once displayed with two companions: Sakyamuni (the historical Buddha) and Amitabha (the Buddha of the Western Paradise), which are now displayed in the Abby Aldrich Rockefeller Garden in Seal Garden, Maine, United States.\r\n\r\nThis cast-bronze gilded Buddha, known as Bhaisajyaguru or Medicine Buddha, is associated with healing and medicine. During the seventh century, the Chinese monk Yijing (635 CE\u2013713 CE) traveled to India and translated the Bhaisajyaguru Sutra from Sanskrit to Chinese. This was an important text for understanding the Medicine Buddha. Since then, worship of the Medicine Buddha has expanded across China. \r\n\r\nThis representation of the Medicine Buddha includes details that reflect Buddhist beliefs. Etched on his right foot is the dharmachakra, an eight-spoked wheel symbolizing the Buddha\u2019s teachings. In the center of his forehead is the third eye, one of the \u201cThirty-Two Attributes of a Great Man\u201d that the Buddha is said to possess.  Earlobes stretched by heavy jewelry worn in his youth as a prince symbolize a conscious rejection of the material world in favor of spiritual enlightenment.","displayDescription":"This bronze sculpture was purchased in 1920 by Sallie Casey Thayer as part of her founding gift that established an art museum at the University of Kansas. Research on the sculpture\u2019s provenance\u2014the history of an object\u2019s ownership, location, or custody\u2014suggests it was once displayed with two companions: Sakyamuni (the historical Buddha) and Amitabha (the Buddha of the Western Paradise), which are now displayed in the Abby Aldrich Rockefeller Garden in Seal Garden, Maine, United States.\r\n\r\nThis cast-bronze gilded Buddha, known as Bhaisajyaguru or Medicine Buddha, is associated with healing and medicine. During the seventh century, the Chinese monk Yijing (635 CE\u2013713 CE) traveled to India and translated the Bhaisajyaguru Sutra from Sanskrit to Chinese. This was an important text for understanding the Medicine Buddha. Since then, worship of the Medicine Buddha has expanded across China. \r\n\r\nThis representation of the Medicine Buddha includes details that reflect Buddhist beliefs. Etched on his right foot is the dharmachakra, an eight-spoked wheel symbolizing the Buddha\u2019s teachings. In the center of his forehead is the third eye, one of the \u201cThirty-Two Attributes of a Great Man\u201d that the Buddha is said to possess.  Earlobes stretched by heavy jewelry worn in his youth as a prince symbolize a conscious rejection of the material world in favor of spiritual enlightenment."}],"dimensionalData":[{"dimID":61429,"dimensions":"104 x 90 x 61 cm","description":"Object Height\/Width\/Depth"},{"dimID":61430,"dimensions":"40 15\/16 x 35 7\/16 x 24 in","description":"Object Height\/Width\/Depth"}]},{"id":11,"objectID":4379,"title":"snuff bottle with stopper","accessionNumber":"1928.1847","geoAssoc":"China","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 1","alias":"","objectDate":"1890\u20131920, Qing dynasty (1644\u20131911) to Republic of China (1911\u20131949)","material":"reverse painting on glass, coral","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":50413,"dimensions":"7.62 x 2.54 cm","description":"Object Height\/Diameter"},{"dimID":50414,"dimensions":"3 x 1 in","description":"Object Height\/Diameter"}]},{"id":12,"objectID":4395,"title":"horses, snuff bottle with stopper","accessionNumber":"1928.1867","geoAssoc":"China","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 1","alias":"","objectDate":"1850\u20131875, Qing dynasty (1644\u20131911)","material":"chalcedony, agate","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":50429,"dimensions":"6.1 x 4.3 cm","description":"Object Height\/Width"},{"dimID":50430,"dimensions":"2 3\/8 x 1 11\/16 in","description":"Object Height\/Width"}]},{"id":13,"objectID":4705,"title":"\u9354 tsuba (sword guard) with geese passing the moon","accessionNumber":"1928.2213","geoAssoc":"Japan","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 3","alias":"","objectDate":"1700s, Edo period (1600\u20131868)","material":"iron, piercing, gold inlay","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[]},{"id":14,"objectID":4756,"title":"\u9354 tsuba (sword guard)","accessionNumber":"1928.2266","geoAssoc":"Japan","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 3","alias":"","objectDate":"1800s, Edo period (1600\u20131868)","material":"iron, piercing, gold inlay","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[]},{"id":15,"objectID":4763,"title":"\u9354 tsuba (sword guard) with wisteria","accessionNumber":"1928.2273","geoAssoc":"Japan","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 3","alias":"","objectDate":"1600, Edo period (1600\u20131868)","material":"iron, piercing","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[]},{"id":16,"objectID":4775,"title":"\u9354 tsuba (sword guard) with lobster","accessionNumber":"1928.2287","geoAssoc":"Japan","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 3","alias":"","objectDate":"Edo period (1600\u20131868)","material":"iron, piercing, gold inlay","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[]},{"id":17,"objectID":4815,"title":"\u9354 tsuba (sword guard) with dragon flies","accessionNumber":"1928.2328","geoAssoc":"Japan","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 3","alias":"","objectDate":"1850s, Edo period (1600\u20131868) or Meiji period (1868\u20131912)","material":"copper, silver alloy, gold inlay","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[]},{"id":18,"objectID":4828,"title":"\u9354 tsuba (sword handle) with \u9419 abumi (stirrups)","accessionNumber":"1928.2341","geoAssoc":"Japan","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 3","alias":"","objectDate":"late 1600s, Edo period (1600\u20131868)","material":"iron, piercing, gold inlay","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[]},{"id":19,"objectID":4940,"title":"birds and plum, snuff bottle with stopper","accessionNumber":"1928.2470","geoAssoc":"China","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 1","alias":"","objectDate":"circa 1850s, Qing dynasty (1644\u20131911)","material":"coral, jadeite","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":51136,"dimensions":"6.3 cm","description":"Object Height"},{"dimID":51137,"dimensions":"2 1\/2 in","description":"Object Height"}]},{"id":20,"objectID":4945,"title":"\u5c0f\u67c4 kozuka (knife handle) with crane","accessionNumber":"1928.2478","geoAssoc":"Japan","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 3","alias":"","objectDate":"Edo period (1600\u20131868)","material":"bronze","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[]},{"id":21,"objectID":4986,"title":"\u5c0f\u67c4 kozuka (knife handle) with deer","accessionNumber":"1928.2527","geoAssoc":"Japan","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 3","alias":"","objectDate":"1700s, Edo period (1600\u20131868)","material":"bronze, gold inlay","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[]},{"id":22,"objectID":5018,"title":"\u7e01 fuchi (hilt collar) and \u982d kashira (butt cap) with spring flowers and insects","accessionNumber":"1928.2562.a,b","geoAssoc":"Japan","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 3","alias":"","objectDate":"1700s, Edo period (1600\u20131868)","material":"brass","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[]},{"id":23,"objectID":5139,"title":"Second Spring, snuff bottle with stopper","accessionNumber":"1928.2713","geoAssoc":"China","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 1","alias":"","objectDate":"1895, Qing dynasty (1644\u20131911)","material":"reverse painting on glass, coral","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":51157,"dimensions":"6.3 x 3.7 cm","description":"Object Height\/Width"},{"dimID":51158,"dimensions":"2 1\/2 x 1 7\/16 in","description":"Object Height\/Width"}]},{"id":24,"objectID":5162,"title":"snuff bottle with stopper","accessionNumber":"1928.2745","geoAssoc":"China","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 1","alias":"","objectDate":"late 1800s, Qing dynasty (1644\u20131911)","material":"possibly quartz crystal, possibly crystal glass","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":51230,"dimensions":"7.4 x 6 cm","description":"Object Height\/Width"},{"dimID":51231,"dimensions":"2 7\/8 x 2 3\/8 in","description":"Object Height\/Width"}]},{"id":25,"objectID":5347,"title":"Annexation of Korea Commerative medal","accessionNumber":"1928.2968.a,b,c","geoAssoc":"Japan","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 4","alias":"","objectDate":"August 29, 1910, Meiji period (1868\u20131912)","material":"bronze, gilding, silk","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[]},{"id":26,"objectID":5349,"title":"Russo-Japanese War medal","accessionNumber":"1928.2970.a,b,c","geoAssoc":"Japan","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 4","alias":"","objectDate":"1906, Meiji period (1868\u20131912)","material":"brass, silk","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[]},{"id":27,"objectID":5484,"title":"standing figure","accessionNumber":"1928.3162","geoAssoc":"United States","currLoc":"401, Loo Gallery, 401, Cabinet A4","alias":"","objectDate":"mid 1900s","material":"plaster, papier-m\u00e2ch\u00e9","creditLine":"Source unknown","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":46559,"dimensions":"29.8 cm","description":"Object Height"},{"dimID":46560,"dimensions":"11 3\/4 in","description":"Object Height"}]},{"id":28,"objectID":5522,"title":"primate figure","accessionNumber":"1928.3210","geoAssoc":"New York, United States","currLoc":"401, Loo Gallery, 401, Cabinet A5","alias":"","objectDate":"early 1900s","material":"aluminum","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":51994,"dimensions":"53.34 cm","description":"Object Height"},{"dimID":51995,"dimensions":"21 in","description":"Object Height"}]},{"id":29,"objectID":5793,"title":"vase","accessionNumber":"1928.3528","geoAssoc":"Japan","currLoc":"401, Loo Gallery, 401, Cabinet H3","alias":"","objectDate":"early 1900s, Meiji period (1868\u20131912)","material":"porcelain","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76236,"collectionID":3397,"collectionType":"exhibition","description":"Blue-and-white porcelain is a ceramic\u202ftechnique that\u202fmatured in China in the 14th century.\u202fInspired by this Chinese technique, Japanese makers\u202fbegan to\u202fproduce blue-and-white ceramics\u202ffor both domestic and\u202finternational markets around the 17th century. This jar\u202fcombines both Chinese and Japanese influences.\u202fThe technique, shape, and decorative motifs recall\u202fChinese prototypes while the\u202fnaturalistic depiction of flowers and grass\u202fdemonstrates\u202fa Japanese aesthetic.  \r\n\r\nBeginning in\u202fthe 18th century, the Japanese adopted the Chinese tradition of drinking sencha\u202f(leaf tea)\u202finstead of traditional Japanese\u202fpowder tea.\u202fJars like this one were often used to hold\u202ftea. The\u202fjar is\u202fcarefully coated\u202fwith\u202ftransparent\u202fglaze\u202fexcept for the mouth and neck, indicating that\u202fit may have\u202fhad\u202fa\u202flid.\u202fWhen it entered the Spencer\u2019s collection it was called a vase, which suggests that its function shifted\u202ffrom tea storage to a flower vase\u202fin a Western context.","displayDescription":"Blue-and-white porcelain is a ceramic\u202ftechnique that\u202fmatured in China in the 14th century.\u202fInspired by this Chinese technique, Japanese makers\u202fbegan to\u202fproduce blue-and-white ceramics\u202ffor both domestic and\u202finternational markets around the 17th century. This jar\u202fcombines both Chinese and Japanese influences.\u202fThe technique, shape, and decorative motifs recall\u202fChinese prototypes while the\u202fnaturalistic depiction of flowers and grass\u202fdemonstrates\u202fa Japanese aesthetic.  \r\n\r\nBeginning in\u202fthe 18th century, the Japanese adopted the Chinese tradition of drinking sencha\u202f(leaf tea)\u202finstead of traditional Japanese\u202fpowder tea.\u202fJars like this one were often used to hold\u202ftea. The\u202fjar is\u202fcarefully coated\u202fwith\u202ftransparent\u202fglaze\u202fexcept for the mouth and neck, indicating that\u202fit may have\u202fhad\u202fa\u202flid.\u202fWhen it entered the Spencer\u2019s collection it was called a vase, which suggests that its function shifted\u202ffrom tea storage to a flower vase\u202fin a Western context."}],"dimensionalData":[{"dimID":52855,"dimensions":"13.8 x 11.5 cm","description":"Object Height\/Diameter"},{"dimID":52856,"dimensions":"5 7\/16 x 4 1\/2 in","description":"Object Height\/Diameter"}]},{"id":30,"objectID":6655,"title":"vase","accessionNumber":"1928.6645","geoAssoc":"Spain","currLoc":"401, Loo Gallery, 401, Cabinet H2","alias":"","objectDate":"1700s\u20131800s","material":"blown glass","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":56086,"dimensions":"20.1 x 12.7 cm","description":"Object Height\/Diameter"},{"dimID":56087,"dimensions":"7 7\/8 x 5 in","description":"Object Height\/Diameter"}]},{"id":31,"objectID":7662,"title":"\u82e6\u74dc kugua (bitter melon), snuff bottle with stopper","accessionNumber":"1929.0036","geoAssoc":"China","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 1","alias":"","objectDate":"late 1800s, Qing dynasty (1644\u20131911)","material":"jadeite","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":56853,"dimensions":"8 cm","description":"Object Height"},{"dimID":56854,"dimensions":"3 1\/8 in","description":"Object Height"}]},{"id":32,"objectID":8901,"title":"scarab paperweight","accessionNumber":"1946.0025","geoAssoc":"Lawrence, Kansas, United States","currLoc":"401, Loo Gallery, 401, Cabinet A4","alias":"","objectDate":"1920\u20131922","material":"earthenware, glaze","creditLine":"Gift of Miss Margaret Lynn","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":57372,"dimensions":"7.6 x 4.4 cm","description":"Object Length\/Width"},{"dimID":57373,"dimensions":"3 x 1 3\/4 in","description":"Object Length\/Width"}]},{"id":33,"objectID":9000,"title":"Holy Family with Angels","accessionNumber":"1949.0004.01","geoAssoc":"Italy","currLoc":"401, Loo Gallery, 401, Cabinet H1","alias":"","objectDate":"date unknown","material":"wood","creditLine":"Gift of Mrs. Alice Dains","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":57439,"dimensions":"17.8 x 20.3 x 6.4 cm","description":"Object Height\/Width\/Depth"},{"dimID":57440,"dimensions":"7 x 8 x 2 1\/2 in","description":"Object Height\/Width\/Depth"}]},{"id":34,"objectID":9041,"title":"Virgin and Child","accessionNumber":"1950.0008","geoAssoc":"Italy","currLoc":"401, Loo Gallery, 401, Cabinet F3","alias":"","objectDate":"circa 1650","material":"bronze, gilding","creditLine":"Museum purchase","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":47424,"dimensions":"40.3 x 20 x 18.2 cm","description":"Object Height\/Width\/Depth"},{"dimID":47425,"dimensions":"15 7\/8 x 7 7\/8 x 7 3\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":37,"objectID":9139,"title":"Muses","accessionNumber":"1951.0072","geoAssoc":"Italy","currLoc":"317, Perkins Central Court, 317, E1","alias":"","objectDate":"1600s","material":"oil, canvas","creditLine":"Museum purchase","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76208,"collectionID":3397,"collectionType":"exhibition","description":"At a time when few women had the opportunity to\u202fpursue an artistic career, Elisabetta\u202fSirani\u202fsuccessfully\u202ftook over her father\u2019s workshop\u202fand supported her parents and siblings\u202fwith her artwork.\u202fShe trained numerous\u202fstudents in her Bologna studio, including other\u202fwomen artists.\u202fBy the time of\u202fSirani\u2019s\u202fdeath at age 27,\u202fshe\u202fhad produced\u202fat least\u202f200\u202fworks, ranging from\u202freligious\u202fand\u202fmythological\u202fsubjects to portraits\u202fand images of historical\u202fwomen.\u202fWhile the attribution of\u202fMuses\u202fis not\u202fdefinitive,\u202fSirani\u202fcreated several\u202fpaintings\u202ffeaturing\u202fpersonifications of Painting, Music, and Poetry, as seen here.\u202fSet against a dark background, each\u202ffigure\u202fholds\u202fan\u202fitem\u202fassociated with her art. On the left, Painting\u202fclasps a palette and paintbrush. At the center, Music\u202fholds a woodwind instrument, possibly a cornettino. To the right, Poetry, adorned with a\u202flaurel wreath, grasps a quill.","displayDescription":"At a time when few women had the opportunity to\u202fpursue an artistic career, Elisabetta\u202fSirani\u202fsuccessfully\u202ftook over her father\u2019s workshop\u202fand supported her parents and siblings\u202fwith her artwork.\u202fShe trained numerous\u202fstudents in her Bologna studio, including other\u202fwomen artists.\u202fBy the time of\u202fSirani\u2019s\u202fdeath at age 27,\u202fshe\u202fhad produced\u202fat least\u202f200\u202fworks, ranging from\u202freligious\u202fand\u202fmythological\u202fsubjects to portraits\u202fand images of historical\u202fwomen.\u202fWhile the attribution of\u202fMuses\u202fis not\u202fdefinitive,\u202fSirani\u202fcreated several\u202fpaintings\u202ffeaturing\u202fpersonifications of Painting, Music, and Poetry, as seen here.\u202fSet against a dark background, each\u202ffigure\u202fholds\u202fan\u202fitem\u202fassociated with her art. On the left, Painting\u202fclasps a palette and paintbrush. At the center, Music\u202fholds a woodwind instrument, possibly a cornettino. To the right, Poetry, adorned with a\u202flaurel wreath, grasps a quill."}],"dimensionalData":[{"dimID":164410,"dimensions":"34 1\/2 x 45 1\/4 x 1 5\/8 in","description":"Frame Dimensions"}]},{"id":38,"objectID":9170,"title":"Madonna and Child on the Crescent Moon","accessionNumber":"1952.0001","geoAssoc":"Germany","currLoc":"401, Loo Gallery, 401, E1","alias":"","objectDate":"circa 1500\u20131501","material":"linden wood, polychromy","creditLine":"Museum purchase: Gift in memory of Professor Harry C. Thurnau through the Estate of Myrtle Elliot Thurnau","exhibition":[{"id":3397,"priority":null},{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76302,"collectionID":3397,"collectionType":"exhibition","description":"Tilman Riemenschneider is noted for transitioning from the ethereal forms that dominated the Late Gothic period to the more realistic human forms of the German Renaissance. During his lifetime, he enjoyed great success as a sculptor and ran an enormous workshop in W\u00fcrzburg staffed by an estimated 40 assistants. This statue may have been designed as a hausmadonna, or house Madonna, which was a devotional sculpture with protective qualities installed on non-religious buildings. Originally shielded from the elements by a canopy, the sculpture may also have been surrounded by a carved wreath of roses. The moon under the Madonna\u2019s feet has many meanings including chastity and the Catholic belief that Mary, the mother of Jesus, was free of sin.","displayDescription":"Tilman Riemenschneider is noted for transitioning from the ethereal forms that dominated the Late Gothic period to the more realistic human forms of the German Renaissance. During his lifetime, he enjoyed great success as a sculptor and ran an enormous workshop in W\u00fcrzburg staffed by an estimated 40 assistants. This statue may have been designed as a hausmadonna, or house Madonna, which was a devotional sculpture with protective qualities installed on non-religious buildings. Originally shielded from the elements by a canopy, the sculpture may also have been surrounded by a carved wreath of roses. The moon under the Madonna\u2019s feet has many meanings including chastity and the Catholic belief that Mary, the mother of Jesus, was free of sin."},{"descriptionID":78507,"collectionID":3474,"collectionType":"exhibition","description":"Holes located at the top and base of this sculpture suggest that this Madonna and Child could have been set within a rosenkranz, a carved wreath of roses, similar to another sculpture by Riemenschneider located in Volkach, Germany.","displayDescription":"Holes located at the top and base of this sculpture suggest that this Madonna and Child could have been set within a rosenkranz, a carved wreath of roses, similar to another sculpture by Riemenschneider located in Volkach, Germany."}],"dimensionalData":[{"dimID":23346,"dimensions":"123 x 36.8 x 21 cm","description":"Object Height\/Width\/Depth"},{"dimID":23347,"dimensions":"48 7\/16 x 14 1\/2 x 8 1\/4 in","description":"Object Height\/Width\/Depth"}]},{"id":42,"objectID":9446,"title":"A Picture Gallery","accessionNumber":"1954.0157","geoAssoc":"Flanders","currLoc":"401, Loo Gallery, 401, E3","alias":"","objectDate":"1660\u20131670","material":"oil, canvas","creditLine":"Museum purchase","exhibition":[{"id":3397,"priority":null},{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76345,"collectionID":3397,"collectionType":"exhibition","description":"The exact subject of this painting is unclear, although it is evident that it depicts a popular practice in the 17th-century Netherlands: collecting and discussing art. Showing works of sculpture, ceramics, music, metalsmithing, and painting arranged for conversation, A Picture Gallery may depict an art dealer\u2019s collection, a private collection, or the interior of an artist\u2019s studio. The man with paints and an easel is likely an artist, but the identity of the others is unclear. Regardless, the painting seems to assert the depicted individuals\u2019 good taste and status as patrons of the arts. It could also serve as a record of this collection. Additionally, picture gallery paintings like this one may have functioned as \u201cbusiness cards\u201d for artists by depicting a variety of paintings and styles within their ability.","displayDescription":"The exact subject of this painting is unclear, although it is evident that it depicts a popular practice in the 17th-century Netherlands: collecting and discussing art. Showing works of sculpture, ceramics, music, metalsmithing, and painting arranged for conversation, A Picture Gallery may depict an art dealer\u2019s collection, a private collection, or the interior of an artist\u2019s studio. The man with paints and an easel is likely an artist, but the identity of the others is unclear. Regardless, the painting seems to assert the depicted individuals\u2019 good taste and status as patrons of the arts. It could also serve as a record of this collection. Additionally, picture gallery paintings like this one may have functioned as \u201cbusiness cards\u201d for artists by depicting a variety of paintings and styles within their ability."},{"descriptionID":78508,"collectionID":3474,"collectionType":"exhibition","description":"The paintings and sculptures within this scene contain a range of subjects and were likely created by different artists living in Europe in the 1600s. Brought together and displayed in close proximity, the assemblage becomes a collection. The collection might demonstrate the skill of the artists who created the works, the wares of an art dealer, or the expertise of the collector.","displayDescription":"The paintings and sculptures within this scene contain a range of subjects and were likely created by different artists living in Europe in the 1600s. Brought together and displayed in close proximity, the assemblage becomes a collection. The collection might demonstrate the skill of the artists who created the works, the wares of an art dealer, or the expertise of the collector."}],"dimensionalData":[{"dimID":114610,"dimensions":"46 1\/2 x 59 1\/4 x 3 1\/2 in","description":"Frame Dimensions"},{"dimID":49613,"dimensions":"97.2 x 129.5 cm","description":"Canvas\/Support"},{"dimID":49614,"dimensions":"38 1\/4 x 51 in","description":"Canvas\/Support"}]},{"id":43,"objectID":9644,"title":"Coronation of Queen Victoria medal","accessionNumber":"1955.0010","geoAssoc":"British Empire (present-day England, United Kingdom)","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 4","alias":"","objectDate":"1838","material":"bronze","creditLine":"Museum purchase","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":58108,"dimensions":"5 cm","description":"Object Diameter"},{"dimID":58109,"dimensions":"1 15\/16 in","description":"Object Diameter"}]},{"id":44,"objectID":9681,"title":"Maternidad","accessionNumber":"1955.0047","geoAssoc":"United States","currLoc":"317, Perkins Central Court, 317, W1","alias":"","objectDate":"1950s","material":"oil, board","creditLine":"Gift of Mr. and Mrs. Eugene Perry","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76289,"collectionID":3397,"collectionType":"exhibition","description":"Amanda de Leon was born in Spain and spent her childhood in Venezuela. She was the daughter of Rafael Andrade, a well-known portrait painter of Madrid. Although she later spent much of her career in New York, her artistic practice remained firmly rooted in her Spanish heritage. This painting of a nun gently closing the shutters as a child sleeps was last exhibited at the University of Kansas Art Museum (a precursor to the Spencer Museum) in 1956.","displayDescription":"Amanda de Leon was born in Spain and spent her childhood in Venezuela. She was the daughter of Rafael Andrade, a well-known portrait painter of Madrid. Although she later spent much of her career in New York, her artistic practice remained firmly rooted in her Spanish heritage. This painting of a nun gently closing the shutters as a child sleeps was last exhibited at the University of Kansas Art Museum (a precursor to the Spencer Museum) in 1956."}],"dimensionalData":[{"dimID":50199,"dimensions":"58.4 x 49.5 cm","description":"Canvas\/Support"},{"dimID":50200,"dimensions":"23 x 19 1\/2 in","description":"Canvas\/Support"}]},{"id":45,"objectID":9701,"title":"Breton Peasant Woman","accessionNumber":"1955.0068","geoAssoc":"France","currLoc":"317, Perkins Central Court, 317, E1","alias":"","objectDate":"1900s","material":"oil, canvas","creditLine":"Gift of Morris Sprayregen in honor of Dr. A.M. Ginsberg","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76205,"collectionID":3397,"collectionType":"exhibition","description":"This painting\u202fshows a peasant woman from Brittany (Breton\u202fin French), a cultural region in Northern France. She holds a child on her shoulder and gazes ahead with a serious expression. Behind her, smaller figures sit before a beach where a boat rests on the sandy shore.  \r\n\r\n \r\n\r\nMuralist and painter\u202fRoger\u202fBezombes\u202ffrequently depicted landscapes and figures in his vividly colored works.\u202fHe employed swaths of flat color to produce work that fell somewhere between painterly and illustrative and\u202fretained evidence of the brush in his paintings, resulting in rich textures.","displayDescription":"This painting\u202fshows a peasant woman from Brittany (Breton\u202fin French), a cultural region in Northern France. She holds a child on her shoulder and gazes ahead with a serious expression. Behind her, smaller figures sit before a beach where a boat rests on the sandy shore.  \r\n\r\n \r\n\r\nMuralist and painter\u202fRoger\u202fBezombes\u202ffrequently depicted landscapes and figures in his vividly colored works.\u202fHe employed swaths of flat color to produce work that fell somewhere between painterly and illustrative and\u202fretained evidence of the brush in his paintings, resulting in rich textures."}],"dimensionalData":[{"dimID":47558,"dimensions":"66.7 x 31.1 cm","description":"Canvas\/Support"},{"dimID":47559,"dimensions":"26 1\/4 x 12 1\/4 in","description":"Canvas\/Support"}]},{"id":46,"objectID":9765,"title":"Isis and the infant Horus","accessionNumber":"1956.0029","geoAssoc":"Egypt","currLoc":"401, Loo Gallery, 401, Cabinet A4","alias":"","objectDate":"circa 300 BCE, Ptolemaic Kingdom, 332 BCE\u201330 CE","material":"bronze, wood","creditLine":"Gift of Dr. Franklin D. Murphy","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":46419,"dimensions":"16.51 cm","description":"Object Height"},{"dimID":46420,"dimensions":"6 1\/2 in","description":"Object Height"}]},{"id":49,"objectID":10008,"title":"Portrait of a Girl","accessionNumber":"1958.0110","geoAssoc":"Italy","currLoc":"317, Perkins Central Court, 317, E1","alias":"","objectDate":"1870s","material":null,"creditLine":"Gift of Mr. and Mrs. Cecil Carstensen","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76215,"collectionID":3397,"collectionType":"exhibition","description":"In\u202fPortrait of a Girl, Giacomo di Chirico\u2019s\u202fbrushstrokes are visible and textured,\u202fand the subject\u2019s soft features emphasize the quality of the light. It is unclear who the subject of this work was, or what her relationship was to the artist, but her direct eye contact conveys a sense of independence. Coupled with the composition and softness of\u202fdi Chirico\u2019s\u202ftechnique, the subject\u2019s eye contact feels knowing\u2014almost intimate.","displayDescription":"In\u202fPortrait of a Girl, Giacomo di Chirico\u2019s\u202fbrushstrokes are visible and textured,\u202fand the subject\u2019s soft features emphasize the quality of the light. It is unclear who the subject of this work was, or what her relationship was to the artist, but her direct eye contact conveys a sense of independence. Coupled with the composition and softness of\u202fdi Chirico\u2019s\u202ftechnique, the subject\u2019s eye contact feels knowing\u2014almost intimate."}],"dimensionalData":[{"dimID":50056,"dimensions":"29.2 x 21 cm","description":"Canvas\/Support"},{"dimID":50057,"dimensions":"11 1\/2 x 8 1\/4 in","description":"Canvas\/Support"},{"dimID":155803,"dimensions":"14 x 10 15\/16 in","description":"Frame Dimensions"}]},{"id":55,"objectID":10648,"title":"Der Tritonenfang (Triton Fishing)","accessionNumber":"1968.0003.021","geoAssoc":"Meissen, Germany","currLoc":"401, Loo Gallery, 401, Cabinet A1","alias":"","objectDate":"late 1890s\u2013early 1900s","material":"porcelain","creditLine":"Gift of Mrs. Gertrude Sellars Pearson","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":59048,"dimensions":"30.5 x 24.1 x 16.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":59049,"dimensions":"12 x 9 1\/2 x 6 1\/2 in","description":"Object Height\/Width\/Depth"}]},{"id":56,"objectID":10657,"title":"Abstract landscape","accessionNumber":"1968.0011","geoAssoc":"United States","currLoc":"317, Perkins Central Court, 317, E4","alias":"","objectDate":"1963","material":"oil, canvas","creditLine":"Gift of Al Newbill","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76246,"collectionID":3397,"collectionType":"exhibition","description":"Working in pastels and deep blues, Al James Newbill became known for atmospheric, gestural abstract paintings. Although born in Missouri, Newbill grew up in Michigan and later attended the Detroit Institute of Arts. After serving in the Army Air Corps during WWII, he moved to New York City where he continued his art studies. In 1957 he participated in the New York Artists\u2019 Annual Exhibition alongside contemporaries like Robert Motherwell, Willem de Kooning, and Hans Hofmann. Two years later, Leo Castelli, a New York art dealer who played a significant role in shaping the contemporary American art scene, gave Newbill his first solo show. After 15 years in New York City, Newbill turned to teaching, taking various positions around the United States.\u202fHe finally moved to the regional campus of Ohio State University in Mansfield where he taught until his retirement in 1976.","displayDescription":"Working in pastels and deep blues, Al James Newbill became known for atmospheric, gestural abstract paintings. Although born in Missouri, Newbill grew up in Michigan and later attended the Detroit Institute of Arts. After serving in the Army Air Corps during WWII, he moved to New York City where he continued his art studies. In 1957 he participated in the New York Artists\u2019 Annual Exhibition alongside contemporaries like Robert Motherwell, Willem de Kooning, and Hans Hofmann. Two years later, Leo Castelli, a New York art dealer who played a significant role in shaping the contemporary American art scene, gave Newbill his first solo show. After 15 years in New York City, Newbill turned to teaching, taking various positions around the United States.\u202fHe finally moved to the regional campus of Ohio State University in Mansfield where he taught until his retirement in 1976."}],"dimensionalData":[{"dimID":59055,"dimensions":"158.8 x 143.5 cm","description":"Canvas\/Support"},{"dimID":27454,"dimensions":"62.5 x 56.5 in","description":"Canvas\/Support"}]},{"id":57,"objectID":10687,"title":"Sheherazade","accessionNumber":"1968.0040","geoAssoc":"England, United Kingdom","currLoc":"317, Perkins Central Court, 317, W1","alias":"","objectDate":"1968","material":"copper, enamel","creditLine":"Gift of Richard Shields","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76207,"collectionID":3397,"collectionType":"exhibition","description":"Originally trained as a painter, Marit Guinness Aschan eventually turned to enamel, finding paint inadequate to express her absorbing interest in the shifting qualities of the sky. She recalls: \u201cI was painting in the sky, and I wanted to produce the sky on earth, and I couldn\u2019t see any other way except to learn to enamel.\u201d Working in enamel requires considerable control and concentration, as its color changes from its raw liquefied state during the firing process. By composing each work of multiple, separately fired layers of enamel, Aschan was able to achieve the shimmering, translucent effect that she was seeking. In this work\u2014Scheherazade, which means \u201cnoble lineage\u201d in Arabic\u2014Aschan evokes the legendary Persian queen immortalized as the narrator of One Thousand and One Nights, also known as Arabian Nights, a collection of Middle Eastern folktales written in Arabic.","displayDescription":"Originally trained as a painter, Marit Guinness Aschan eventually turned to enamel, finding paint inadequate to express her absorbing interest in the shifting qualities of the sky. She recalls: \u201cI was painting in the sky, and I wanted to produce the sky on earth, and I couldn\u2019t see any other way except to learn to enamel.\u201d Working in enamel requires considerable control and concentration, as its color changes from its raw liquefied state during the firing process. By composing each work of multiple, separately fired layers of enamel, Aschan was able to achieve the shimmering, translucent effect that she was seeking. In this work\u2014Scheherazade, which means \u201cnoble lineage\u201d in Arabic\u2014Aschan evokes the legendary Persian queen immortalized as the narrator of One Thousand and One Nights, also known as Arabian Nights, a collection of Middle Eastern folktales written in Arabic."}],"dimensionalData":[{"dimID":161949,"dimensions":"30 5\/16 x 21 7\/16 x 1 3\/16 in","description":"Object Height\/Width\/Depth"},{"dimID":161950,"dimensions":"44 1\/4 x 34 in","description":"Mount Dimensions"},{"dimID":51288,"dimensions":"77 x 51.5 x 3 cm","description":"Object Height\/Width\/Depth"}]},{"id":58,"objectID":10906,"title":"Storm Line","accessionNumber":"1970.0034","geoAssoc":"United States","currLoc":"317, Perkins Central Court, 317, E1","alias":"","objectDate":"1966","material":"oil, canvas","creditLine":"Gift of Miss Jeanne Esch","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76336,"collectionID":3397,"collectionType":"exhibition","description":"John Talleur taught for 40 years at the University of Kansas, where he built its first printmaking studio and established the printmaking program. He is known for producing dramatic works with religious imagery. When Talleur painted Storm Line he was exploring both religious subjects and the human form. In the center of the painting a human lies on their back with arms reaching upward. A dark shape\u2014resembling a horse\u2014seems to be standing over the form.\u202f \r\n\r\n\u202f \r\n\r\nPrimarily a printmaker, Talleur said \u201cPainting craft is too easy\u2014this is one of its prime dangers; the printing craft is painful\u2014one of its unpleasant features.\u201d Even so, he painted extensively toward the end of his life. The deliberate and technical process of printmaking is evident in many of Talleur\u2019s other paintings, which resemble woodcuts. Few of Talleur\u2019s works are as painterly as Storm Line, but its contrasting colors create his characteristically dramatic atmosphere.","displayDescription":"John Talleur taught for 40 years at the University of Kansas, where he built its first printmaking studio and established the printmaking program. He is known for producing dramatic works with religious imagery. When Talleur painted Storm Line he was exploring both religious subjects and the human form. In the center of the painting a human lies on their back with arms reaching upward. A dark shape\u2014resembling a horse\u2014seems to be standing over the form.\u202f \r\n\r\n\u202f \r\n\r\nPrimarily a printmaker, Talleur said \u201cPainting craft is too easy\u2014this is one of its prime dangers; the printing craft is painful\u2014one of its unpleasant features.\u201d Even so, he painted extensively toward the end of his life. The deliberate and technical process of printmaking is evident in many of Talleur\u2019s other paintings, which resemble woodcuts. Few of Talleur\u2019s works are as painterly as Storm Line, but its contrasting colors create his characteristically dramatic atmosphere."}],"dimensionalData":[{"dimID":49534,"dimensions":"128.6 x 183.8 cm","description":"Canvas\/Support"},{"dimID":49535,"dimensions":"50 5\/8 x 72 3\/8 in","description":"Canvas\/Support"}]},{"id":60,"objectID":11639,"title":"vase","accessionNumber":"1972.0086","geoAssoc":"Vineland, New Jersey, United States","currLoc":"401, Loo Gallery, 401, Cabinet A2","alias":"","objectDate":"1924\u20131931","material":"blown glass","creditLine":"Gift of Miss Stella W. Aten","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":60095,"dimensions":"26 cm","description":"Object Height"},{"dimID":60096,"dimensions":"10 1\/4 in","description":"Object Height"}]},{"id":62,"objectID":12277,"title":"Taranto","accessionNumber":"1974.0004","geoAssoc":"United States","currLoc":"317, Perkins Central Court, 317, E1","alias":"","objectDate":"1954","material":"oil, canvas","creditLine":"Gift of W.B. Dixon Stroud","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76263,"collectionID":3397,"collectionType":"exhibition","description":"After the start of the Russian revolution in 1917, Leonid Berman and his brother Eugene were forced to flee the country. After settling in Paris, the brothers began to exhibit at Galerie Pierre, where their melancholy and introspective paintings were dubbed \u201cNeo-Romantic.\u201d While Eugene usually painted desolate, lonely landscapes featuring ruined sculptures, Leonid favored beaches and fishing boats, often imbued with a surreal dreamlike quality as seen in this forlorn depiction of the southern Italian coastal city of Taranto.","displayDescription":"After the start of the Russian revolution in 1917, Leonid Berman and his brother Eugene were forced to flee the country. After settling in Paris, the brothers began to exhibit at Galerie Pierre, where their melancholy and introspective paintings were dubbed \u201cNeo-Romantic.\u201d While Eugene usually painted desolate, lonely landscapes featuring ruined sculptures, Leonid favored beaches and fishing boats, often imbued with a surreal dreamlike quality as seen in this forlorn depiction of the southern Italian coastal city of Taranto."}],"dimensionalData":[{"dimID":49168,"dimensions":"50.8 x 76.2 cm","description":"Canvas\/Support"},{"dimID":49169,"dimensions":"20 x 30 in","description":"Canvas\/Support"}]},{"id":63,"objectID":12286,"title":"Portrait of a Mother and Daughter","accessionNumber":"1974.0013","geoAssoc":"United States","currLoc":"317, Perkins Central Court, 317, E1","alias":"","objectDate":"circa 1860","material":"oil, canvas","creditLine":"Gift of Ms Laura J. Topham","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76214,"collectionID":3397,"collectionType":"exhibition","description":"In\u202fPortrait of a\u202fMother\u202fand Daughter, the subjects\u2019 fine clothes and jewelry, as well as the size and quality of the portrait itself, reveal their upper-class status. Their serious expressions and the painting\u2019s dark tones provide insight into the social customs of the 1860s. Laura J.\u202fTopham\u202fdonated this portrait in 1974. The painting\u202fdepicts her grandmother, Laura Jane\u202fThweatt\u202fBlock, and her mother, Emma Block.","displayDescription":"In\u202fPortrait of a\u202fMother\u202fand Daughter, the subjects\u2019 fine clothes and jewelry, as well as the size and quality of the portrait itself, reveal their upper-class status. Their serious expressions and the painting\u2019s dark tones provide insight into the social customs of the 1860s. Laura J.\u202fTopham\u202fdonated this portrait in 1974. The painting\u202fdepicts her grandmother, Laura Jane\u202fThweatt\u202fBlock, and her mother, Emma Block."}],"dimensionalData":[{"dimID":49176,"dimensions":"167.6 x 114 cm","description":"Canvas\/Support"},{"dimID":49177,"dimensions":"66 x 44 7\/8 in","description":"Canvas\/Support"}]},{"id":65,"objectID":12480,"title":"Female figure","accessionNumber":"1975.0061","geoAssoc":"Germany","currLoc":"317, Perkins Central Court, 317, E1","alias":"","objectDate":"circa 1800s","material":"oil, canvas","creditLine":"Gift of the Max Kade Foundation","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76209,"collectionID":3397,"collectionType":"exhibition","description":"Although the identity of this figure is unknown, her upward gaze and crossed arms indicate spiritual devotion and piety. The floral garland adorning her head suggests she is a saint, or a sitter in the guise of a saint. Italian artist Guido Reni, who may have inspired this\u202flater painting from the\u202f1800s, created\u202fnumerous\u202faltarpieces\u202fand smaller scale religious paintings, including many depictions of female prophets and saints. His work profoundly influenced other artists in his home city of Bologna, a center of painting in the\u202f1600s.","displayDescription":"Although the identity of this figure is unknown, her upward gaze and crossed arms indicate spiritual devotion and piety. The floral garland adorning her head suggests she is a saint, or a sitter in the guise of a saint. Italian artist Guido Reni, who may have inspired this\u202flater painting from the\u202f1800s, created\u202fnumerous\u202faltarpieces\u202fand smaller scale religious paintings, including many depictions of female prophets and saints. His work profoundly influenced other artists in his home city of Bologna, a center of painting in the\u202f1600s."}],"dimensionalData":[{"dimID":164409,"dimensions":"41 3\/8 x 35 x 2 1\/8 in","description":"Frame Dimensions"},{"dimID":47090,"dimensions":"83.8 x 67.9 cm","description":"Canvas\/Support"},{"dimID":47092,"dimensions":"33 x 26 3\/4 in","description":"Canvas\/Support"}]},{"id":66,"objectID":12481,"title":"Madonna and Child","accessionNumber":"1975.0062","geoAssoc":"Italy","currLoc":"317, Perkins Central Court, 317, W1","alias":"","objectDate":"circa 1500","material":"oil, panel","creditLine":"Gift of the Max Kade Foundation","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76267,"collectionID":3397,"collectionType":"exhibition","description":"The\u202fdetails of\u202fthis painting invite the viewer to look closer and reveal symbols related to the Christian belief that Jesus is the son of God. Both Mary and\u202f Jesus, referred to as Madonna and Child,\u202fhold\u202fcherries and roses,\u202fsymbols of the\u202fblood\u202fJesus will shed at his execution.\u202fMary\u2019s tilted head and\u202fmournful\u202fgaze\u202fimply her knowledge of these future events.\u202fThe red cloth\u202famplifies the\u202frich\u202fhue of the cherries and roses against the contrasting dark green fabric of Mary\u2019s cloak.","displayDescription":"The\u202fdetails of\u202fthis painting invite the viewer to look closer and reveal symbols related to the Christian belief that Jesus is the son of God. Both Mary and\u202f Jesus, referred to as Madonna and Child,\u202fhold\u202fcherries and roses,\u202fsymbols of the\u202fblood\u202fJesus will shed at his execution.\u202fMary\u2019s tilted head and\u202fmournful\u202fgaze\u202fimply her knowledge of these future events.\u202fThe red cloth\u202famplifies the\u202frich\u202fhue of the cherries and roses against the contrasting dark green fabric of Mary\u2019s cloak."}],"dimensionalData":[{"dimID":164412,"dimensions":"29 1\/2 x 25 x 2 3\/8 in","description":"Frame Dimensions"},{"dimID":47145,"dimensions":"51.3 x 39.4 cm","description":"Canvas\/Support"},{"dimID":47146,"dimensions":"20 3\/16 x 15 1\/2 in","description":"Canvas\/Support"}]},{"id":67,"objectID":12492,"title":"Red Onions and Plant","accessionNumber":"1975.0073","geoAssoc":"United States","currLoc":"317, Perkins Central Court, 317, N3","alias":"","objectDate":"1967","material":"oil, canvas","creditLine":"Gift of Mr. and Mrs. David Workman","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":47129,"dimensions":"41 x 50.8 cm","description":"Canvas\/Support"},{"dimID":47130,"dimensions":"16 1\/8 x 20 in","description":"Canvas\/Support"}]},{"id":70,"objectID":12579,"title":"Taxco","accessionNumber":"1976.0073","geoAssoc":"Mexico","currLoc":"317, Perkins Central Court, 317, S1","alias":"","objectDate":"1974","material":"oil, canvas","creditLine":"Gift of George and Lois Monto","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76262,"collectionID":3397,"collectionType":"exhibition","description":"This painting depicts the Mexican skyline of Taxco in thick, rippling oil paint.\u202fAs a city built on a steep incline, Taxco is\u202farranged\u202fin rising\u202frows\u202fof bright stone architecture.\u202fThe painting suggests this elevation\u202fthrough\u202fthe raised\u202flevels\u202fof the buildings between\u202fits\u202fforeground\u202fand\u202fbackground.\u202fArtist Jaime Oates abstracted the city\u2019s architecture, blurring and softening its\u202foutline.\u202fSplashes of green and red suggest\u202fthe\u202flocal flora, and a\u202flight\u202fblue sky\u202fenvelopes the\u202fcalm\u202furban scenery.","displayDescription":"This painting depicts the Mexican skyline of Taxco in thick, rippling oil paint.\u202fAs a city built on a steep incline, Taxco is\u202farranged\u202fin rising\u202frows\u202fof bright stone architecture.\u202fThe painting suggests this elevation\u202fthrough\u202fthe raised\u202flevels\u202fof the buildings between\u202fits\u202fforeground\u202fand\u202fbackground.\u202fArtist Jaime Oates abstracted the city\u2019s architecture, blurring and softening its\u202foutline.\u202fSplashes of green and red suggest\u202fthe\u202flocal flora, and a\u202flight\u202fblue sky\u202fenvelopes the\u202fcalm\u202furban scenery."}],"dimensionalData":[{"dimID":47124,"dimensions":"40 x 48.9 cm","description":"Canvas\/Support"},{"dimID":47125,"dimensions":"15 11\/16 x 19 1\/4 in","description":"Canvas\/Support"}]},{"id":71,"objectID":12588,"title":"Brujas y Nino","accessionNumber":"1976.0082","geoAssoc":"Mexico","currLoc":"317, Perkins Central Court, 317, E1","alias":"","objectDate":"1965","material":"oil, board","creditLine":"Gift of George and Lois Monto","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76308,"collectionID":3397,"collectionType":"exhibition","description":"Infused with dreamlike images rendered in expressive, blurred brushstrokes, Gonzalo Ceja\u2019s paintings evoke surrealist, dreamlike encounters in everyday situations. Ceja began his career in 1959 in Mexico City as a furniture and set designer. In 1993, he was celebrated in Mexico when his team won the Ariel award for best production design for the film\u202fLike Water for Chocolate (Como Agua Para Chocolate), a magical realist romance that was a worldwide hit.","displayDescription":"Infused with dreamlike images rendered in expressive, blurred brushstrokes, Gonzalo Ceja\u2019s paintings evoke surrealist, dreamlike encounters in everyday situations. Ceja began his career in 1959 in Mexico City as a furniture and set designer. In 1993, he was celebrated in Mexico when his team won the Ariel award for best production design for the film\u202fLike Water for Chocolate (Como Agua Para Chocolate), a magical realist romance that was a worldwide hit."}],"dimensionalData":[{"dimID":47098,"dimensions":"27.6 x 21.6 cm","description":"Canvas\/Support"},{"dimID":47099,"dimensions":"10 7\/8 x 8 1\/2 in","description":"Canvas\/Support"}]},{"id":72,"objectID":12609,"title":"Navajo Goat Girl","accessionNumber":"1977.0003","geoAssoc":"United States","currLoc":"317, Perkins Central Court, 317, E1","alias":"","objectDate":"early 1900s","material":"oil, canvas","creditLine":"Gift of the Balfour Family","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76210,"collectionID":3397,"collectionType":"exhibition","description":"Artist Gerald Cassidy is known for his scenes of daily Navajo life. In this work, he delicately depicts the figure of the girl in profile, capturing a sense of movement and suggesting she is unaware of the artist\u2019s presence. The girl is draped in fabrics\u202fin\u202fshades of blue, pink and, green. An Angora goat, which is typical for the Santa Fe area, stands behind her near the horizon.\u202fThe fabrics and the goat in the painting symbolize the bounties of Navajo life.","displayDescription":"Artist Gerald Cassidy is known for his scenes of daily Navajo life. In this work, he delicately depicts the figure of the girl in profile, capturing a sense of movement and suggesting she is unaware of the artist\u2019s presence. The girl is draped in fabrics\u202fin\u202fshades of blue, pink and, green. An Angora goat, which is typical for the Santa Fe area, stands behind her near the horizon.\u202fThe fabrics and the goat in the painting symbolize the bounties of Navajo life."}],"dimensionalData":[{"dimID":46692,"dimensions":"101.6 x 76.2 cm","description":"Canvas\/Support"},{"dimID":46693,"dimensions":"40 x 30 in","description":"Canvas\/Support"}]},{"id":73,"objectID":12639,"title":"Hunting Scene","accessionNumber":"1977.0033","geoAssoc":"Egypt","currLoc":"401, Loo Gallery, 401, W2","alias":"","objectDate":"circa 2500 BCE, Old Kingdom (circa 2575 BCE\u20132150 BCE)","material":"limestone, relief","creditLine":"Museum purchase","exhibition":[{"id":3397,"priority":null},{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76299,"collectionID":3397,"collectionType":"exhibition","description":"Cut from its original context, this fragment of a relief carving depicts ancient Egyptians amidst the bounty of the Nile River. In the lower section, three men balance on long-prowed boats, poised to spear fish gathered in the still water. Above, hunters capture geese in marshland grasses, grasping the animals by their feathered wings and slender necks. Often adorning walls of lavish tombs, narrative scenes like this one were especially coveted by sellers of ancient art.","displayDescription":"Cut from its original context, this fragment of a relief carving depicts ancient Egyptians amidst the bounty of the Nile River. In the lower section, three men balance on long-prowed boats, poised to spear fish gathered in the still water. Above, hunters capture geese in marshland grasses, grasping the animals by their feathered wings and slender necks. Often adorning walls of lavish tombs, narrative scenes like this one were especially coveted by sellers of ancient art."},{"descriptionID":78510,"collectionID":3474,"collectionType":"exhibition","description":"Once adorning walls of lavish Egyptian tombs, narrative scenes like this one were especially coveted by purveyors of ancient art. By removing only the carved surfaces from their architectural settings, sellers were better able to market them to eager European collectors. This relief depicts ancient Egyptians amidst the bounty of the Nile River. In the lower section men balance on boats, poised to spear fish. Above, hunters capture geese.","displayDescription":"Once adorning walls of lavish Egyptian tombs, narrative scenes like this one were especially coveted by purveyors of ancient art. By removing only the carved surfaces from their architectural settings, sellers were better able to market them to eager European collectors. This relief depicts ancient Egyptians amidst the bounty of the Nile River. In the lower section men balance on boats, poised to spear fish. Above, hunters capture geese."}],"dimensionalData":[{"dimID":170397,"dimensions":"21 1\/4 x 13 3\/4 x 4 5\/16 in including base","description":"Object Height\/Width\/Depth"},{"dimID":170396,"dimensions":"54 x 35 x 11 cm including base","description":"Object Height\/Width\/Depth"}]},{"id":74,"objectID":12802,"title":"St. Vincent Ferrer","accessionNumber":"1978.0066.a,b","geoAssoc":"Spain","currLoc":"401, Loo Gallery, 401, Cabinet F1","alias":"","objectDate":"1700s","material":"wood, carving, polychromy","creditLine":"Gift of Mrs. Pierre A.D. Stouse Jr.","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76304,"collectionID":3397,"collectionType":"exhibition","description":"Although Spanish conquistadors passed through what is now New Mexico as early as 1527 searching for gold and silver, the first permanent Spanish settlements in the area were not established until 1598. As part of these settlements, Catholic priests arrived to establish churches and convert Indigenous populations to Catholicism. In addition to bringing religious traditions from Europe, these early missionaries also introduced the art of carving various saints and angels from wood or ivory. Local artisans quickly adapted this artform to incorporate their own traditions and religious practices. These carved figures of saints represent two examples of this living tradition.","displayDescription":"Although Spanish conquistadors passed through what is now New Mexico as early as 1527 searching for gold and silver, the first permanent Spanish settlements in the area were not established until 1598. As part of these settlements, Catholic priests arrived to establish churches and convert Indigenous populations to Catholicism. In addition to bringing religious traditions from Europe, these early missionaries also introduced the art of carving various saints and angels from wood or ivory. Local artisans quickly adapted this artform to incorporate their own traditions and religious practices. These carved figures of saints represent two examples of this living tradition."}],"dimensionalData":[{"dimID":163814,"dimensions":"b: trumpet 2 5\/16 x 7\/8 in","description":"Object Height\/Diameter"},{"dimID":46806,"dimensions":"a: figure 30 x 10.8 x 9.7 cm","description":"Object Height\/Width\/Depth"},{"dimID":46807,"dimensions":"a: figure 11 13\/16 x 4 1\/4 x 3 13\/16 in","description":"Object Height\/Width\/Depth"},{"dimID":163813,"dimensions":"b: trumpet 5.8 x 2.3 cm","description":"Object Height\/Diameter"}]},{"id":78,"objectID":13411,"title":"El Bote (The Boat)","accessionNumber":"1980.0200","geoAssoc":"Venezuela","currLoc":"317, Perkins Central Court, 317, E4","alias":"","objectDate":"circa 1950","material":"acrylic, canvas","creditLine":"Bequest of Donald Hatch in memory of Mary Bole Hatch to the University of Kansas. On deposit to the Spencer Museum of Art from the School of Architecture and Urban Design.","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76333,"collectionID":3397,"collectionType":"exhibition","description":"Dutch artist Cornelis\u202fZitman\u202ffled to Venezuela in 1947 after being drafted and in opposition to the\u202fNetherlands\u2019 occupation of Indonesia.\u202fZitman developed a rounded style\u202fand narrowed his focus to the\u202fIndigenous people\u202fof Venezuela\u202fas subjects. His stylized figures became even more exaggerated. The vivid white highlights in El Bote suggest a\u202fsunny day, but the painting is dark, with stark shadows and strong contrasts.\u202fIn the background, the distant figures look almost ghostly.","displayDescription":"Dutch artist Cornelis\u202fZitman\u202ffled to Venezuela in 1947 after being drafted and in opposition to the\u202fNetherlands\u2019 occupation of Indonesia.\u202fZitman developed a rounded style\u202fand narrowed his focus to the\u202fIndigenous people\u202fof Venezuela\u202fas subjects. His stylized figures became even more exaggerated. The vivid white highlights in El Bote suggest a\u202fsunny day, but the painting is dark, with stark shadows and strong contrasts.\u202fIn the background, the distant figures look almost ghostly."}],"dimensionalData":[{"dimID":50249,"dimensions":"75.1 x 99.6 cm","description":"Canvas\/Support"},{"dimID":50250,"dimensions":"29 5\/8 x 39 3\/16 in","description":"Canvas\/Support"}]},{"id":79,"objectID":14210,"title":"Salina Piece","accessionNumber":"1981.0005","geoAssoc":"United States","currLoc":"outdoors, West Campus, south of KUCR","alias":"","objectDate":"1969","material":"Cor-ten steel, asphaltum paint","creditLine":"Gift of Mr. and Mrs. John M. Simpson","exhibition":[],"tour":[{"id":1857,"priority":null}],"assignment":[],"descriptionData":[{"descriptionID":25100,"collectionID":1857,"collectionType":"tour","description":"Tap the Web icon for a map and directions to this sculpture.","displayDescription":"Tap the Web icon for a map and directions to this sculpture."}],"dimensionalData":[{"dimID":46500,"dimensions":"10.7 x 7.3 x 10.4 m","description":"Object Height\/Width\/Depth"},{"dimID":46501,"dimensions":"35 x 24 x 34 ft","description":"Object Height\/Width\/Depth"}]},{"id":80,"objectID":14229,"title":"untitled","accessionNumber":"1981.0024","geoAssoc":"United States","currLoc":"401, Loo Gallery, 401, Cabinet D1","alias":"","objectDate":"1975","material":"terracotta, casting","creditLine":"Gift of Ronald and Marilynn Grais through Landfall Press","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76343,"collectionID":3397,"collectionType":"exhibition","description":"Well-known for his ceramic sculptures and numerous self-portraits, Robert Arneson tests the boundaries of self-representation\u2014and even art itself\u2014with this self-portrait that depicts him symbolically rather than pictorially. Despite its appearance, the object is not an ordinary building material, but was cast by Arneson. The brick's physical association with the artist is thus a key component of its function as a self-portrait. Evidence of Arneson\u2019s hand is visible both by his name stamped on top and in the signature inscribed on the side.","displayDescription":"Well-known for his ceramic sculptures and numerous self-portraits, Robert Arneson tests the boundaries of self-representation\u2014and even art itself\u2014with this self-portrait that depicts him symbolically rather than pictorially. Despite its appearance, the object is not an ordinary building material, but was cast by Arneson. The brick's physical association with the artist is thus a key component of its function as a self-portrait. Evidence of Arneson\u2019s hand is visible both by his name stamped on top and in the signature inscribed on the side."}],"dimensionalData":[{"dimID":167114,"dimensions":"4 5\/16 x 8 9\/16 x 2 5\/8 in","description":"Object Height\/Width\/Depth"},{"dimID":32231,"dimensions":"10.9 x 21.8 x 6.7 cm","description":"Object Height\/Width\/Depth"}]},{"id":81,"objectID":14521,"title":"Interstate 70","accessionNumber":"1982.0094","geoAssoc":"United States","currLoc":"outdoors, Marvin Grove","alias":"","objectDate":"1970","material":"steel, welding, paint","creditLine":"Museum purchase","exhibition":[],"tour":[{"id":1857,"priority":null}],"assignment":[],"descriptionData":[{"descriptionID":25101,"collectionID":1857,"collectionType":"tour","description":"Tap the Web icon for a map and walking directions to this sculpture.","displayDescription":"Tap the Web icon for a map and walking directions to this sculpture."}],"dimensionalData":[{"dimID":48238,"dimensions":"157.5 x 148 x 658 cm","description":"Object Height\/Width\/Length"},{"dimID":48239,"dimensions":"62 x 58 1\/4 x 259 1\/16 in","description":"Object Height\/Width\/Length"},{"dimID":48240,"dimensions":"base 24.8 cm","description":"Object Height"},{"dimID":48241,"dimensions":"base 9 3\/4 in","description":"Object Height"}]},{"id":82,"objectID":14762,"title":"snuff bottle with stopper","accessionNumber":"1982.0232.a,b","geoAssoc":"China","currLoc":"401, Loo Gallery, 401, Cabinet H3","alias":"","objectDate":"1800s, Qing dynasty (1644\u20131911)","material":"glass, paint, cork, wood","creditLine":"Bequest of Helen Foresman Spencer","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76237,"collectionID":3397,"collectionType":"exhibition","description":"Snuff\u202fis a kind of ground or powered tobacco inhaled through the nose. It\u202fwas originally\u202fimported to China from Europe in the 16th century. In the Qing dynasty, snuff became a popular luxury and a remedy for common illnesses.\u202fSnuff bottles showcased various techniques with different materials, such as glass, ceramic, lacquerware, wood, jade, ivory, and precious metals.\u202fThe material and decoration of snuff bottles demonstrated the tastes and wealth of their owners. \r\n\r\nSnuff bottles are usually pocket-sized\u202ffor everyday use. However, this\u202fglass\u202fbottle is quite large, which indicates\u202fit\u202fwas\u202fused for\u202fstoring larger quantities of snuff\u202fin the home.\u202fThis\u202fpainting technique is called\u202finner-painting, a\u202fspecial\u202fmethod invented in China.\u202fThe artist would\u202fpaint\u202for\u202fwrite\u202fin reverse\u202fwith\u202fhook-shaped bamboo\u202fbrushes inside the bottle. Although\u202fpainted on\u202fa\u202fcurved wall, the\u202fflowers,\u202fleaves, and birds are vividly depicted.","displayDescription":"Snuff\u202fis a kind of ground or powered tobacco inhaled through the nose. It\u202fwas originally\u202fimported to China from Europe in the 16th century. In the Qing dynasty, snuff became a popular luxury and a remedy for common illnesses.\u202fSnuff bottles showcased various techniques with different materials, such as glass, ceramic, lacquerware, wood, jade, ivory, and precious metals.\u202fThe material and decoration of snuff bottles demonstrated the tastes and wealth of their owners. \r\n\r\nSnuff bottles are usually pocket-sized\u202ffor everyday use. However, this\u202fglass\u202fbottle is quite large, which indicates\u202fit\u202fwas\u202fused for\u202fstoring larger quantities of snuff\u202fin the home.\u202fThis\u202fpainting technique is called\u202finner-painting, a\u202fspecial\u202fmethod invented in China.\u202fThe artist would\u202fpaint\u202for\u202fwrite\u202fin reverse\u202fwith\u202fhook-shaped bamboo\u202fbrushes inside the bottle. Although\u202fpainted on\u202fa\u202fcurved wall, the\u202fflowers,\u202fleaves, and birds are vividly depicted."}],"dimensionalData":[{"dimID":64446,"dimensions":"13.5 x 9.7 x 6.5 cm assembled","description":"Object Height\/Width\/Depth"},{"dimID":64447,"dimensions":"5 5\/16 x 3 13\/16 x 2 9\/16 in assembled","description":"Object Height\/Width\/Depth"},{"dimID":163816,"dimensions":"a: bottle 4 5\/8 x 3 13\/16 x 2 9\/16 in","description":"Object Height\/Width\/Depth"},{"dimID":163815,"dimensions":"a: bottle 11.8 x 9.7 x 6.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":163817,"dimensions":"b: stopper 10.4 x 2.8 cm","description":"Object Length\/Diameter"},{"dimID":163818,"dimensions":"b: stopper 4 1\/8 x 1 1\/8 in","description":"Object Length\/Diameter"}]},{"id":83,"objectID":14775,"title":"snuff bottle with stopper","accessionNumber":"1982.0245","geoAssoc":"China","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 1","alias":"","objectDate":"late 1800s, Qing dynasty (1644\u20131911)","material":"quartz crystal, actinolite, tourmaline, coral, brass","creditLine":"Bequest of Helen Foresman Spencer","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":64474,"dimensions":"8 cm","description":"Object Height"},{"dimID":64475,"dimensions":"3 1\/8 in","description":"Object Height"}]},{"id":84,"objectID":14832,"title":"\u4f5b\u624b foshou (citron), snuff bottle with stopper","accessionNumber":"1982.0302","geoAssoc":"China","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 1","alias":"","objectDate":"late 1800s, Qing dynasty (1644\u20131911)","material":"jade, turquoise","creditLine":"Bequest of Helen Foresman Spencer","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":64588,"dimensions":"6.5 cm","description":"Object Height"},{"dimID":64589,"dimensions":"2 1\/2 in","description":"Object Height"}]},{"id":86,"objectID":15167,"title":"Still Life with Bottles","accessionNumber":"1984.0001","geoAssoc":"Germany","currLoc":"317, Perkins Central Court, 317, N3","alias":"","objectDate":"early-mid 1900s","material":"oil, canvas","creditLine":"Gift of Mrs. Albert Bloch","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76230,"collectionID":3397,"collectionType":"exhibition","description":"This still life of vibrantly colored bottles by German Expressionist Emmy Klinker was once owned by artist Albert Bloch and later gifted to the Spencer by his wife. Bloch, who would later become chair of the painting department at KU, was Klinker\u2019s teacher after she moved to Munich in 1916. He was so impressed by her talent that Bloch and Klinker exhibited together in 1919 at the progressive Sturm Gallery in Berlin. This painting exemplifies Klinker\u2019s effervescent use of color and intentionally basic depictions of everyday life. During World War II Klinker\u2019s artwork was banned. Although she lived a full life after WWII, her work has only recently begun to receive attention, with several exhibitions in her native Germany.","displayDescription":"This still life of vibrantly colored bottles by German Expressionist Emmy Klinker was once owned by artist Albert Bloch and later gifted to the Spencer by his wife. Bloch, who would later become chair of the painting department at KU, was Klinker\u2019s teacher after she moved to Munich in 1916. He was so impressed by her talent that Bloch and Klinker exhibited together in 1919 at the progressive Sturm Gallery in Berlin. This painting exemplifies Klinker\u2019s effervescent use of color and intentionally basic depictions of everyday life. During World War II Klinker\u2019s artwork was banned. Although she lived a full life after WWII, her work has only recently begun to receive attention, with several exhibitions in her native Germany."}],"dimensionalData":[{"dimID":39426,"dimensions":"58.4 x 52.4 cm","description":"Canvas\/Support"},{"dimID":39428,"dimensions":"23 x 20 5\/8 in","description":"Canvas\/Support"}]},{"id":87,"objectID":15865,"title":"Two Champs II","accessionNumber":"1986.0093","geoAssoc":"United States","currLoc":"401, Loo Gallery, 401, Cabinet E2","alias":"","objectDate":"1979","material":"bronze, patina","creditLine":"Gift of Dr. Richard and Laura Cummings","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76257,"collectionID":3397,"collectionType":"exhibition","description":"Harry Jackson grew up working in the lunchroom his mother ran at the Union Stock Yards in Chicago. His frequent encounters with cowboys there sparked his fascination with the American West. In 1938, 14-year-old Jackson ran away from home and hitchhiked to Wyoming where he worked as a ranch hand. When Jackson turned 18 in 1942, he enlisted in the Marines and served as a sketch artist. Jackson was awarded the Purple Heart for his WWII service, but suffered from posttraumatic stress disorder for the rest of his life. After seeing a painting by Jackson Pollock while recovering in Los Angeles, Jackson moved to New York, befriended Pollock, and began painting in the Abstract Expressionist style. Later, however, he realized his abstract paintings were too removed from the rugged individualism that had enamored him as a boy. Moving back to Wyoming, he returned to making realist depictions of the Old West.","displayDescription":"Harry Jackson grew up working in the lunchroom his mother ran at the Union Stock Yards in Chicago. His frequent encounters with cowboys there sparked his fascination with the American West. In 1938, 14-year-old Jackson ran away from home and hitchhiked to Wyoming where he worked as a ranch hand. When Jackson turned 18 in 1942, he enlisted in the Marines and served as a sketch artist. Jackson was awarded the Purple Heart for his WWII service, but suffered from posttraumatic stress disorder for the rest of his life. After seeing a painting by Jackson Pollock while recovering in Los Angeles, Jackson moved to New York, befriended Pollock, and began painting in the Abstract Expressionist style. Later, however, he realized his abstract paintings were too removed from the rugged individualism that had enamored him as a boy. Moving back to Wyoming, he returned to making realist depictions of the Old West."}],"dimensionalData":[{"dimID":46527,"dimensions":"23 1\/2 x 10 x 13 3\/4 in","description":"Object Height\/Width\/Depth"},{"dimID":46526,"dimensions":"59.7 x 25.4 x 34.9 cm","description":"Object Height\/Width\/Depth"}]},{"id":89,"objectID":16250,"title":"Tai Chi Figure","accessionNumber":"1987.0182","geoAssoc":"Taiwan","currLoc":"outdoors, in front of Green Hall","alias":"","objectDate":"1985","material":"bronze, casting, welding","creditLine":"Museum purchase: Barbara Benton Wescoe Fund in memory of Judge Willard M. Benton","exhibition":[],"tour":[{"id":1857,"priority":null}],"assignment":[],"descriptionData":[{"descriptionID":25103,"collectionID":1857,"collectionType":"tour","description":"Tap the Web icon for a map and walking directions to this sculpture.","displayDescription":"Tap the Web icon for a map and walking directions to this sculpture."}],"dimensionalData":[{"dimID":65297,"dimensions":"310 x 500 cm","description":"Object Height\/Width"},{"dimID":65298,"dimensions":"122 1\/16 x 196 7\/8 in","description":"Object Height\/Width"}]},{"id":91,"objectID":17354,"title":"Saint Joan","accessionNumber":"1991.0087","geoAssoc":"United States","currLoc":"317, Perkins Central Court, 317, C5","alias":"","objectDate":"late 1960s","material":"walnut wood, carving","creditLine":"Gift of Marcia and Eliot Berkley","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76221,"collectionID":3397,"collectionType":"exhibition","description":"Throughout his prolific career as a sculptor of wood, Cecil Carstenson taught at the University of Missouri, Kansas City, conducted workshops on carving and technique, and wrote the book The Craft and Creation of Wood Sculpture. This stylized bust captures the iconic short-cropped hair of Joan of Arc (1412\u20131431), heroine of the French during the Hundred Years\u2019 War.","displayDescription":"Throughout his prolific career as a sculptor of wood, Cecil Carstenson taught at the University of Missouri, Kansas City, conducted workshops on carving and technique, and wrote the book The Craft and Creation of Wood Sculpture. This stylized bust captures the iconic short-cropped hair of Joan of Arc (1412\u20131431), heroine of the French during the Hundred Years\u2019 War."}],"dimensionalData":[{"dimID":10688,"dimensions":"356 x 229 x 165 mm","description":"Object Height\/Width\/Depth"},{"dimID":17124,"dimensions":"14 x 9 x 6 1\/2 in","description":"Object Height\/Width\/Depth"}]},{"id":94,"objectID":17379,"title":"untitled","accessionNumber":"1991.0112","geoAssoc":"Australia","currLoc":"317, Perkins Central Court, 317, E1","alias":"","objectDate":"mid 1970s","material":"oil, board","creditLine":"Gift of Mr. and Mrs. J. D. Berkley","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76340,"collectionID":3397,"collectionType":"exhibition","description":"This dot painting by artist David West Tjupurrula depicts designs associated with the\u202frock hole\u202fsite at Mukula, a water source in the desert that is located in\u202fopen\u202fflat country to the\u202fsouthwest\u202fof Jupiter Well in western Australia. Waterholes, which are essential for survival in the arid conditions of Australia\u2019s Western Desert, are considered\u202fsacred places by the Pintupi Aboriginal tribe.","displayDescription":"This dot painting by artist David West Tjupurrula depicts designs associated with the\u202frock hole\u202fsite at Mukula, a water source in the desert that is located in\u202fopen\u202fflat country to the\u202fsouthwest\u202fof Jupiter Well in western Australia. Waterholes, which are essential for survival in the arid conditions of Australia\u2019s Western Desert, are considered\u202fsacred places by the Pintupi Aboriginal tribe."}],"dimensionalData":[{"dimID":10712,"dimensions":"39.7 x 29.5 cm","description":"Canvas\/Support"},{"dimID":17152,"dimensions":"15 5\/8 x 11 5\/8 in","description":"Canvas\/Support"}]},{"id":95,"objectID":17382,"title":"Programmed Figures","accessionNumber":"1991.0115.a,b","geoAssoc":"Israel","currLoc":"317, Perkins Central Court, 317, S1","alias":"","objectDate":"1980","material":"wood, plaster, paint","creditLine":"Gift of Virginia Jennings Nadeau and Richard Pierre Nadeau","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76243,"collectionID":3397,"collectionType":"exhibition","description":"After studying at Columbia University in New York City in the early 1970s, Cohen Gan began to create conceptual art that attempted to resolve what he characterized as the conflict between art and science. These two geometric, sculptural bodies were most likely created for his 1981 exhibition Programmed Figure in Curved Space, or Painted Solution to Advance Problem no. 457617. As seen in these two sculptural figures, during this period Cohen Gan explored conventions of space and form as part of his ongoing quest to reconcile art and science.","displayDescription":"After studying at Columbia University in New York City in the early 1970s, Cohen Gan began to create conceptual art that attempted to resolve what he characterized as the conflict between art and science. These two geometric, sculptural bodies were most likely created for his 1981 exhibition Programmed Figure in Curved Space, or Painted Solution to Advance Problem no. 457617. As seen in these two sculptural figures, during this period Cohen Gan explored conventions of space and form as part of his ongoing quest to reconcile art and science."}],"dimensionalData":[{"dimID":10715,"dimensions":"each 114.3 x 157.5 x 20 cm","description":"Object Height\/Width\/Depth"},{"dimID":17156,"dimensions":"each 45 x 62 x 7 7\/8 in","description":"Object Height\/Width\/Depth"}]},{"id":96,"objectID":17383,"title":"Western Landscape","accessionNumber":"1991.0116","geoAssoc":"United States","currLoc":"401, Loo Gallery, 401, Cabinet E3","alias":"","objectDate":"1978","material":"brass, ebony, polishing","creditLine":"Gift of Virginia Jennings Nadeau and Richard Pierre Nadeau","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76259,"collectionID":3397,"collectionType":"exhibition","description":"These works elicit two different interpretations of landscape. The carved ivory table screen from China depicts an idealized mountain landscape, and was intended to provide scholars an image of nature for inspiration. Richard Hollander\u2019s bronze minimalist sculpture evokes the blazing sun often equated with the vast western landscapes of his adopted home in Kansas City.","displayDescription":"These works elicit two different interpretations of landscape. The carved ivory table screen from China depicts an idealized mountain landscape, and was intended to provide scholars an image of nature for inspiration. Richard Hollander\u2019s bronze minimalist sculpture evokes the blazing sun often equated with the vast western landscapes of his adopted home in Kansas City."}],"dimensionalData":[{"dimID":10716,"dimensions":"21 x 10.2 x 33 cm","description":"Object Height\/Width\/Depth"},{"dimID":17157,"dimensions":"8 1\/4 x 4 x 13 in","description":"Object Height\/Width\/Depth"}]},{"id":97,"objectID":17453,"title":"vase","accessionNumber":"1991.0186","geoAssoc":"United States","currLoc":"401, Loo Gallery, 401, Cabinet A2","alias":"","objectDate":"1907","material":"earthenware, glaze","creditLine":"Gift of William A. Stout","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":10764,"dimensions":"219 x 65 x 65 mm","description":"Object Height\/Width\/Depth"},{"dimID":17244,"dimensions":"8 5\/8 x 2 1\/2 x 2 1\/2 in","description":"Object Height\/Width\/Depth"}]},{"id":102,"objectID":18451,"title":"Indian with Pineapple","accessionNumber":"1994.0075","geoAssoc":"Panama","currLoc":"317, Perkins Central Court, 317, E1","alias":"","objectDate":"1962","material":"oil, canvas","creditLine":"Gift of George Waggoner","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76334,"collectionID":3397,"collectionType":"exhibition","description":"Considered to be the father of abstraction in Panama, Alfredo Sinclair\u2019s lyrical, figurative paintings were the result of several factors. Formally, Sinclair was inspired by the work of Abstract Expressionist Jackson\u202fPollock (1912\u20131956) and his use of\u202fincorporating\u202fcrushed glass into\u202fthe canvas. In his daily life, Sinclair\u2019s\u202fwork as a technician in a neon sign shop also influenced his use of\u202fcolor.\u202fThis painting features a stylized figure rendered in jewel tones and a web of thick black lines intended to mimic stained glass windows.","displayDescription":"Considered to be the father of abstraction in Panama, Alfredo Sinclair\u2019s lyrical, figurative paintings were the result of several factors. Formally, Sinclair was inspired by the work of Abstract Expressionist Jackson\u202fPollock (1912\u20131956) and his use of\u202fincorporating\u202fcrushed glass into\u202fthe canvas. In his daily life, Sinclair\u2019s\u202fwork as a technician in a neon sign shop also influenced his use of\u202fcolor.\u202fThis painting features a stylized figure rendered in jewel tones and a web of thick black lines intended to mimic stained glass windows."}],"dimensionalData":[{"dimID":20389,"dimensions":"109.2 x 75.9 cm","description":"Object Height\/Width"},{"dimID":20390,"dimensions":"43 x 29.9 cm","description":"Object Height\/Width"}]},{"id":103,"objectID":18475,"title":"Cervantes","accessionNumber":"1994.0095","geoAssoc":"United States","currLoc":"317, Perkins Central Court, 317, E4","alias":"","objectDate":"1967","material":"oil, canvas","creditLine":"Gift of U. R. Romano","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76331,"collectionID":3397,"collectionType":"exhibition","description":"This portrait by Italian-born American artist Umberto Romano depicts Miguel de Cervantes (1547\u20131616), the famed author of\u202fDon Quixote. Unlike the neighboring painting by Pierre Daura, which celebrates Cervantes\u2019s work, Romano sought to capture the magnificence of the man himself.\u202fThis\u202fwork was made as part of Romano\u2019s\u202fGreat Men\u202fseries, which represented the faces of great men in history painted in bold, dark colors and abstracted styles on a large scale.","displayDescription":"This portrait by Italian-born American artist Umberto Romano depicts Miguel de Cervantes (1547\u20131616), the famed author of\u202fDon Quixote. Unlike the neighboring painting by Pierre Daura, which celebrates Cervantes\u2019s work, Romano sought to capture the magnificence of the man himself.\u202fThis\u202fwork was made as part of Romano\u2019s\u202fGreat Men\u202fseries, which represented the faces of great men in history painted in bold, dark colors and abstracted styles on a large scale."}],"dimensionalData":[{"dimID":11605,"dimensions":"127.6 x 101.3 cm","description":"Canvas\/Support"},{"dimID":20426,"dimensions":"50 1\/4 x 39 7\/8 in","description":"Canvas\/Support"}]},{"id":104,"objectID":18530,"title":"Orphee","accessionNumber":"1995.0026","geoAssoc":"France","currLoc":"401, Loo Gallery, 401, Cabinet D4","alias":"","objectDate":"1899","material":"bronze, casting","creditLine":"Museum purchase","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":16375,"dimensions":"21 cm","description":"Object Height\/Diameter"},{"dimID":16381,"dimensions":"8 1\/4 in","description":"Object Height\/Diameter"}]},{"id":108,"objectID":19319,"title":"votive tablet (tsa-tsa)","accessionNumber":"1997.0444.01","geoAssoc":"Burma (present-day Myanmar)","currLoc":"401, Loo Gallery, 401, Cabinet A3","alias":"","objectDate":"1700s\u20131800s","material":"clay","creditLine":"Gift of Dr. Mary F. Gray","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76393,"collectionID":3397,"collectionType":"exhibition","description":"This small clay tablet is a tsa-tsa\u2014a votive image made by Buddhist pilgrims or acquired at pilgrimage sites. A tsa-tsa provides traveling devotees with a portable icon to worship. The central figure in this tsa-tsa sits framed by a tower that resembles Mahabodhi temple, a holy site where Sakyamuni Buddha is believed to have achieved enlightenment. The figure\u2019s features have faded, but he appears to be making the teaching gesture, dharmacakra mudra, pressing the thumb and index finger of each hand together to form a wheel. The figure\u2019s hair is short and curly, which references Sakyamuni cutting his hair when he renounced earthly attachments. He is encircled by stupas, or funerary structures that often contain relics such as the Buddha\u2019s remains. The lower part of the tablet includes an inscription called the ye dharma or \u201cthose phenomena,\u201d which references the Four Noble Truths of Buddhism.","displayDescription":"This small clay tablet is a tsa-tsa\u2014a votive image made by Buddhist pilgrims or acquired at pilgrimage sites. A tsa-tsa provides traveling devotees with a portable icon to worship. The central figure in this tsa-tsa sits framed by a tower that resembles Mahabodhi temple, a holy site where Sakyamuni Buddha is believed to have achieved enlightenment. The figure\u2019s features have faded, but he appears to be making the teaching gesture, dharmacakra mudra, pressing the thumb and index finger of each hand together to form a wheel. The figure\u2019s hair is short and curly, which references Sakyamuni cutting his hair when he renounced earthly attachments. He is encircled by stupas, or funerary structures that often contain relics such as the Buddha\u2019s remains. The lower part of the tablet includes an inscription called the ye dharma or \u201cthose phenomena,\u201d which references the Four Noble Truths of Buddhism."}],"dimensionalData":[{"dimID":163761,"dimensions":"13.8 x 12.6 x 3.4 cm","description":"Object Height\/Width\/Depth"},{"dimID":163762,"dimensions":"5 7\/16 x 4 15\/16 x 1 5\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":109,"objectID":19470,"title":"vase","accessionNumber":"1998.0090","geoAssoc":"Germany","currLoc":"401, Loo Gallery, 401, Cabinet H4","alias":"","objectDate":"1950","material":"glass","creditLine":"Gift of Dieter Zuhlsdorff, Germany","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76235,"collectionID":3397,"collectionType":"exhibition","description":"Wilhelm\u202fWagenfeld\u202fwas\u202fa pioneer\u202fin\u202f20th-century\u202findustrial\u202fdesign.\u202fHe trained\u202fat the\u202fBauhaus, an\u202finfluential\u202fart\u202fschool in Germany famous\u202ffor its modern\u202faesthetic principles of unifying artistic ideas with mass production and\u202feveryday function.\u202fMainly\u202ffocused on\u202fhousehold items such as glass, ceramics, and metal\u202fwares,\u202fWagenfeld\u2019s\u202fworks\u202fdemonstrate his\u202fpursuit of a timeless design. \r\n\r\n \r\n\r\nDuring the 1950s,\u202fWagenfeld\u202fused high-quality\u202fdark green\u202ftourmaline glass\u2014the only color\u202fhe used\u2014as well as\u202fclear\u202fcolorless glass when he worked for Wurtemburg Metal Factory.\u202fAfter World War II, Germany\u202fsuffered from shortages of housing, materials, and\u202fgoods.\u202fThe public preferred durable and affordable household items.\u202fBy minimizing surface treatments such as\u202fdecoration,\u202fcolor, or asymmetrical shapes,\u202fthis simple vase\u202fdemonstrates a standard form\u202ffor mass production and home consumption.","displayDescription":"Wilhelm\u202fWagenfeld\u202fwas\u202fa pioneer\u202fin\u202f20th-century\u202findustrial\u202fdesign.\u202fHe trained\u202fat the\u202fBauhaus, an\u202finfluential\u202fart\u202fschool in Germany famous\u202ffor its modern\u202faesthetic principles of unifying artistic ideas with mass production and\u202feveryday function.\u202fMainly\u202ffocused on\u202fhousehold items such as glass, ceramics, and metal\u202fwares,\u202fWagenfeld\u2019s\u202fworks\u202fdemonstrate his\u202fpursuit of a timeless design. \r\n\r\n \r\n\r\nDuring the 1950s,\u202fWagenfeld\u202fused high-quality\u202fdark green\u202ftourmaline glass\u2014the only color\u202fhe used\u2014as well as\u202fclear\u202fcolorless glass when he worked for Wurtemburg Metal Factory.\u202fAfter World War II, Germany\u202fsuffered from shortages of housing, materials, and\u202fgoods.\u202fThe public preferred durable and affordable household items.\u202fBy minimizing surface treatments such as\u202fdecoration,\u202fcolor, or asymmetrical shapes,\u202fthis simple vase\u202fdemonstrates a standard form\u202ffor mass production and home consumption."}],"dimensionalData":[{"dimID":12485,"dimensions":"19.4 x 8.7 cm","description":"Object Height\/Diameter"},{"dimID":164767,"dimensions":"7 5\/8 x 3 7\/16 in","description":"Object Height\/Diameter"}]},{"id":111,"objectID":20485,"title":"Saint Sebastian","accessionNumber":"1999.0158","geoAssoc":"probably Germany or Belgium","currLoc":"401, Loo Gallery, 401, Cabinet F4","alias":"","objectDate":"late 1400s\u2013mid 1500s","material":"wood, carving","creditLine":"Gift of Dr. and Mrs. J. A. Burzle","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76270,"collectionID":3397,"collectionType":"exhibition","description":"Saint Sebastian\u202fwas executed\u202fduring Roman Emperor Diocletian\u2019s persecution\u202fof\u202fChristians in the third century. Diocletian ordered that\u202fSebastian\u202fbe tied to a stake and shot with arrows. This icon of Saint Sebastian echoes\u202fGermanic Christian art through the intentional simplicity of the plain\u202fwood\u202fsurface and the emphasis on the\u202fmartyr\u2019s pain and\u202fgaunt body. Beyond scenes of martyrdom, Christian art\u202frepresents\u202fa\u202fdiverse\u202frange of subject matter, including\u202ficons\u202fof Jesus as an infant. The ornate aesthetic of statue of a very young child\u202fsuggests both that the subject might be Jesus, and also that it\u202fmay have been made in Italy or France. The infant\u202fstands on a pedestal with an elaborate blue-and-white design and\u202fgold\u202fembellishments.","displayDescription":"Saint Sebastian\u202fwas executed\u202fduring Roman Emperor Diocletian\u2019s persecution\u202fof\u202fChristians in the third century. Diocletian ordered that\u202fSebastian\u202fbe tied to a stake and shot with arrows. This icon of Saint Sebastian echoes\u202fGermanic Christian art through the intentional simplicity of the plain\u202fwood\u202fsurface and the emphasis on the\u202fmartyr\u2019s pain and\u202fgaunt body. Beyond scenes of martyrdom, Christian art\u202frepresents\u202fa\u202fdiverse\u202frange of subject matter, including\u202ficons\u202fof Jesus as an infant. The ornate aesthetic of statue of a very young child\u202fsuggests both that the subject might be Jesus, and also that it\u202fmay have been made in Italy or France. The infant\u202fstands on a pedestal with an elaborate blue-and-white design and\u202fgold\u202fembellishments."}],"dimensionalData":[{"dimID":12824,"dimensions":"650 x 230 x 125 mm","description":"Object Height\/Width\/Depth"}]},{"id":112,"objectID":20489,"title":"statue of a young child","accessionNumber":"1999.0162","geoAssoc":"unknown","currLoc":"401, Loo Gallery, 401, Cabinet F2","alias":"","objectDate":"circa 1700s","material":"wood, carving, painting","creditLine":"Gift of Dr. and Mrs. J. A. Burzle","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76269,"collectionID":3397,"collectionType":"exhibition","description":"Saint Sebastian\u202fwas executed\u202fduring Roman Emperor Diocletian\u2019s persecution\u202fof\u202fChristians in the third century. Diocletian ordered that\u202fSebastian\u202fbe tied to a stake and shot with arrows. This icon of Saint Sebastian echoes\u202fGermanic Christian art through the intentional simplicity of the plain\u202fwood\u202fsurface and the emphasis on the\u202fmartyr\u2019s pain and\u202fgaunt body. Beyond scenes of martyrdom, Christian art\u202frepresents\u202fa\u202fdiverse\u202frange of subject matter, including\u202ficons\u202fof Jesus as an infant. The ornate aesthetic of statue of a very young child\u202fsuggests both that the subject might be Jesus, and also that it\u202fmay have been made in Italy or France. The infant\u202fstands on a pedestal with an elaborate blue-and-white design and\u202fgold\u202fembellishments.","displayDescription":"Saint Sebastian\u202fwas executed\u202fduring Roman Emperor Diocletian\u2019s persecution\u202fof\u202fChristians in the third century. Diocletian ordered that\u202fSebastian\u202fbe tied to a stake and shot with arrows. This icon of Saint Sebastian echoes\u202fGermanic Christian art through the intentional simplicity of the plain\u202fwood\u202fsurface and the emphasis on the\u202fmartyr\u2019s pain and\u202fgaunt body. Beyond scenes of martyrdom, Christian art\u202frepresents\u202fa\u202fdiverse\u202frange of subject matter, including\u202ficons\u202fof Jesus as an infant. The ornate aesthetic of statue of a very young child\u202fsuggests both that the subject might be Jesus, and also that it\u202fmay have been made in Italy or France. The infant\u202fstands on a pedestal with an elaborate blue-and-white design and\u202fgold\u202fembellishments."}],"dimensionalData":[{"dimID":12828,"dimensions":"590 x 340 x 185 mm","description":"Object Height\/Width\/Depth"}]},{"id":113,"objectID":20509,"title":"Still Life","accessionNumber":"1999.0182","geoAssoc":"United States","currLoc":"317, Perkins Central Court, 317, N3","alias":"","objectDate":"circa 1929","material":"oil, canvas","creditLine":"Gift of The Honorable Joseph P. Carroll and Roberta Carroll, M.D.","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76231,"collectionID":3397,"collectionType":"exhibition","description":"Ben Shahn was born in Kovno, Lithuania, and immigrated with his family to New York at the age of six. After finishing elementary school, he was an apprentice for a lithographer. He studied biology at New York University and studied art at City College and the National Academy of Design. This delightful still life of flowers in a vase may have been painted prior to October 29, 1929, or \u201cBlack Thursday,\u201d when news of a major stock market crash triggered the global economic downturn known as the Great Depression. During the 1930s Shahn began to incorporate his political views into his art.","displayDescription":"Ben Shahn was born in Kovno, Lithuania, and immigrated with his family to New York at the age of six. After finishing elementary school, he was an apprentice for a lithographer. He studied biology at New York University and studied art at City College and the National Academy of Design. This delightful still life of flowers in a vase may have been painted prior to October 29, 1929, or \u201cBlack Thursday,\u201d when news of a major stock market crash triggered the global economic downturn known as the Great Depression. During the 1930s Shahn began to incorporate his political views into his art."}],"dimensionalData":[{"dimID":12838,"dimensions":"44.7 x 36.5 cm","description":"Canvas\/Support"},{"dimID":49465,"dimensions":"17 5\/8 x 14 3\/8 in","description":"Canvas\/Support"}]},{"id":114,"objectID":21417,"title":"Bouquet \u00e0 la pomme","accessionNumber":"2010.0234","geoAssoc":"Spain","currLoc":"401, Loo Gallery, 401, Cabinet B5","alias":"","objectDate":"1956","material":"earthenware, glaze","creditLine":"Gift of Robert A. Hiller in memory of Frederick C. Hiller and Beulah Hackler Hiller","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":91312,"dimensions":"25 cm","description":"Object Diameter"},{"dimID":100745,"dimensions":"9 13\/16 in","description":"Object Diameter"}]},{"id":115,"objectID":21603,"title":"Morning in the Adirondacks","accessionNumber":"1995.0144","geoAssoc":"United States","currLoc":"407, Kress Gallery, 407, E3","alias":"","objectDate":"1867","material":"oil, canvas","creditLine":"Gift of Mr. and Mrs. Joseph R. Pearson, 1954. Frame courtesy of the Terra Foundation for American Art, Chicago, and Eli Wilner & Company Period Frames and Mirrors, New York","exhibition":[{"id":3397,"priority":null},{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76244,"collectionID":3397,"collectionType":"exhibition","description":"\"In Europe people talk a great deal of the wilds of America, but the Americans themselves never think about them; they are insensible to the wonders of inanimate nature and they may be said not to perceive the mighty forests that surround them till they fall beneath the hatchet.\" \u2014 Alexis de Tocqueville, Democracy in America, 1840  \r\n\r\nSanford Robinson Gifford and other Hudson River School painters challenged Alexis de Tocqueville\u2019s belief that the wilderness held no fascination for Americans. Gifford delighted in painting the \u201cglorious forest primeval\u201d that filled the Adirondack Mountains of upstate New York. His treatment of the warm morning light reveals misty mountain peaks, abundant forests, and a quiet lake, but also illuminates a clearing around a small log cabin and the impact of this settlement upon the land.","displayDescription":"\"In Europe people talk a great deal of the wilds of America, but the Americans themselves never think about them; they are insensible to the wonders of inanimate nature and they may be said not to perceive the mighty forests that surround them till they fall beneath the hatchet.\" \u2014 Alexis de Tocqueville, Democracy in America, 1840  \r\n\r\nSanford Robinson Gifford and other Hudson River School painters challenged Alexis de Tocqueville\u2019s belief that the wilderness held no fascination for Americans. Gifford delighted in painting the \u201cglorious forest primeval\u201d that filled the Adirondack Mountains of upstate New York. His treatment of the warm morning light reveals misty mountain peaks, abundant forests, and a quiet lake, but also illuminates a clearing around a small log cabin and the impact of this settlement upon the land."},{"descriptionID":78418,"collectionID":3473,"collectionType":"exhibition","description":"Sanford Robinson Gifford uses the dramatic effects of mist and morning sunlight to depict the vastness of the Adirondack Mountains in upstate New York. Painted just after the American Civil War (1861\u20131865), the artist also records the impact of the pioneer settlers who cleared the land and built homes there.","displayDescription":"Sanford Robinson Gifford uses the dramatic effects of mist and morning sunlight to depict the vastness of the Adirondack Mountains in upstate New York. Painted just after the American Civil War (1861\u20131865), the artist also records the impact of the pioneer settlers who cleared the land and built homes there."}],"dimensionalData":[{"dimID":170399,"dimensions":"64 1\/2 x 56 x 6 3\/4 in","description":"Frame Dimensions"},{"dimID":15758,"dimensions":"50 1\/4 x 42 1\/4 in","description":"Canvas\/Support"},{"dimID":15760,"dimensions":"127.63 x 107.31 cm","description":"Canvas\/Support"}]},{"id":118,"objectID":22035,"title":"La Casa Delle Delizie (The House of Delights)","accessionNumber":"2002.0128","geoAssoc":"Italy","currLoc":"317, Perkins Central Court, 317, S1","alias":"","objectDate":"circa 1975","material":"oil, canvas","creditLine":"Gift of Eleanor and William Bartholomew","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":19810,"dimensions":"90 x 80 cm","description":"Canvas\/Support"},{"dimID":19811,"dimensions":"35 3\/8 x 31 1\/2 in","description":"Canvas\/Support"}]},{"id":119,"objectID":22315,"title":"cut-steel necklace","accessionNumber":"H1998.085","geoAssoc":"probably England, United Kingdom","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 2","alias":"","objectDate":"circa 1840","material":"cut steel","creditLine":null,"exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":22933,"dimensions":null,"description":""}]},{"id":120,"objectID":22348,"title":"bracelet in Gothic Revival style","accessionNumber":"H1999.029","geoAssoc":"Berlin, Germany","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 2","alias":"","objectDate":"circa 1835","material":"cast-iron","creditLine":null,"exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":155935,"dimensions":"22 x 6 cm","description":"Object Length\/Width"}]},{"id":121,"objectID":22420,"title":"Dicksmithkit","accessionNumber":"2002.0176","geoAssoc":"United States","currLoc":"317, Perkins Central Court, 317, E1","alias":"","objectDate":"1960","material":"oil, canvas","creditLine":"Gift of Ron Slowinski","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76330,"collectionID":3397,"collectionType":"exhibition","description":"Associated with Pop Art and color field painting, Richard Smith blurred the line between high culture and mass media. While living in New York in the early 1960s, Smith began to incorporate influences from advertising into his artistic practice.\u202fHe was inspired by the distortions of scale he saw in billboards, packaging, and cinema. Smith later began exploring the boundary between painting and sculpture through pieces that extended into the space in front of the canvas.","displayDescription":"Associated with Pop Art and color field painting, Richard Smith blurred the line between high culture and mass media. While living in New York in the early 1960s, Smith began to incorporate influences from advertising into his artistic practice.\u202fHe was inspired by the distortions of scale he saw in billboards, packaging, and cinema. Smith later began exploring the boundary between painting and sculpture through pieces that extended into the space in front of the canvas."}],"dimensionalData":[{"dimID":26728,"dimensions":"46.7 x 51.4 cm","description":"Object Height\/Width"},{"dimID":26729,"dimensions":"18 3\/8 x 20 3\/16 in","description":"Object Height\/Width"}]},{"id":122,"objectID":22426,"title":"untitled","accessionNumber":"2002.0182","geoAssoc":"United States","currLoc":"317, Perkins Central Court, 317, E1","alias":"","objectDate":"1964","material":"acrylic, canvas","creditLine":"Gift of Ron Slowinski","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76337,"collectionID":3397,"collectionType":"exhibition","description":"In 1959, Robert Natkin moved to New York where he was immersed in Abstract Expressionism and color field painting, which would come to define his style. In the mid 1960s, Natkin began his Apollo series of paintings, which all incorporated vertical strips of contrasting colors. These paintings emphasized color and light and were therefore named for the Greek god of the sun. It is not clear whether this painting was a part of that series, but it uses the same approach and themes.","displayDescription":"In 1959, Robert Natkin moved to New York where he was immersed in Abstract Expressionism and color field painting, which would come to define his style. In the mid 1960s, Natkin began his Apollo series of paintings, which all incorporated vertical strips of contrasting colors. These paintings emphasized color and light and were therefore named for the Greek god of the sun. It is not clear whether this painting was a part of that series, but it uses the same approach and themes."}],"dimensionalData":[{"dimID":25845,"dimensions":"44.77 x 47.59 cm","description":"Frame Dimensions"},{"dimID":25846,"dimensions":"17 5\/8 x 16 3\/8 in","description":"Frame Dimensions"},{"dimID":23519,"dimensions":"41.91 x 38.1 cm","description":"Canvas\/Support"},{"dimID":23520,"dimensions":"16 1\/2 x 15 in","description":"Canvas\/Support"}]},{"id":123,"objectID":22443,"title":"NKL","accessionNumber":"1999.0357","geoAssoc":"New York, United States","currLoc":"317, Perkins Central Court, 317, E1","alias":"","objectDate":"1992","material":"oil, acrylic, canvas","creditLine":"Gift of the artist","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76338,"collectionID":3397,"collectionType":"exhibition","description":"Robert Goodnough\u202fwas an American painter known for his calligraphic mark making and blockish abstractions composed of layered colors and geometric shapes. Though he was associated with the Abstract Expressionists, Goodnough\u2019s work varied in style and eluded categorization. He explained: \u201cI like to work freely, to slash with the brush and let loose. I also like to work carefully and with discipline.\u201d  \r\n\r\nBorn in 1917 in Cortland, New York, Goodnough graduated from Syracuse University and painted in a representational style early in his career. After serving in the military during World War II, he attended the painting classes of French Cubist Am\u00e9d\u00e9e Ozenfant\u202f(1886\u20131966) and\u202fGerman-born artist Hans Hofmann (1880\u20131966). Their influences can be seen in this work, which was included in one of Goodnough\u2019s last New York shows.","displayDescription":"Robert Goodnough\u202fwas an American painter known for his calligraphic mark making and blockish abstractions composed of layered colors and geometric shapes. Though he was associated with the Abstract Expressionists, Goodnough\u2019s work varied in style and eluded categorization. He explained: \u201cI like to work freely, to slash with the brush and let loose. I also like to work carefully and with discipline.\u201d  \r\n\r\nBorn in 1917 in Cortland, New York, Goodnough graduated from Syracuse University and painted in a representational style early in his career. After serving in the military during World War II, he attended the painting classes of French Cubist Am\u00e9d\u00e9e Ozenfant\u202f(1886\u20131966) and\u202fGerman-born artist Hans Hofmann (1880\u20131966). Their influences can be seen in this work, which was included in one of Goodnough\u2019s last New York shows."}],"dimensionalData":[{"dimID":27054,"dimensions":"76.2 x 157.48 cm","description":"Object Height\/Width"},{"dimID":27055,"dimensions":"30 x 62 in","description":"Object Height\/Width"}]},{"id":124,"objectID":22486,"title":"untitled (Don Quixote)","accessionNumber":"2003.0058","geoAssoc":"France","currLoc":"317, Perkins Central Court, 317, E4","alias":"","objectDate":"1939\u20131941","material":"oil, board","creditLine":"Gift of Martha R. Daura in memory of Chapin DeWitt Clark","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76332,"collectionID":3397,"collectionType":"exhibition","description":"In\u202fan\u202ficonic\u202fscene from Miguel de Cervantes\u2019s\u202fDon Quixote, the titular character mistakes a field of windmills for hostile giants and attempts to fight them on horseback. Pierre Daura, who\u202fpainted this work a few years after being injured in service during the Spanish Civil War (1936\u20131939), renders the scene in dark colors. Daura\u2019s\u202fuse of repeated angular shapes creates a rhythmic, almost abstract composition. Although he painted many figurative works throughout his prolific career, he frequently returned to abstract themes.","displayDescription":"In\u202fan\u202ficonic\u202fscene from Miguel de Cervantes\u2019s\u202fDon Quixote, the titular character mistakes a field of windmills for hostile giants and attempts to fight them on horseback. Pierre Daura, who\u202fpainted this work a few years after being injured in service during the Spanish Civil War (1936\u20131939), renders the scene in dark colors. Daura\u2019s\u202fuse of repeated angular shapes creates a rhythmic, almost abstract composition. Although he painted many figurative works throughout his prolific career, he frequently returned to abstract themes."}],"dimensionalData":[{"dimID":23627,"dimensions":"40.8 x 31 cm","description":"Object Height\/Width"},{"dimID":23628,"dimensions":"16 1\/16 x 12 3\/16 in","description":"Object Height\/Width"}]},{"id":133,"objectID":25752,"title":"teacup, saucer and spoon","accessionNumber":"2003.0159.a,b,c","geoAssoc":"United States","currLoc":"401, Loo Gallery, 401, Cabinet H4","alias":"","objectDate":"2003","material":"porcelain, stainless steel, glaze","creditLine":"Gift of Peter Norton","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76286,"collectionID":3397,"collectionType":"exhibition","description":"This project is New York\u2013based artist Robert Lazzarini\u2019s first experiment in \u201ccomplex nonlinear distortion.\u201d He combined attributes of different cups and saucers to arrive at a new type of object. He first drew the cup and saucer using three-dimensional modeling software, and then he laser-scanned a spoon. He next applied multiple sine wave patterns along different axes through these virtual objects. After finishing the virtual modeling stage, Lazzarini used the rendering to create a series of three-dimensional prototypes. He then hand-finished the prototypes, smoothing the surfaces and sculpting a chip in the rim of the cup to suggest years of use.","displayDescription":"This project is New York\u2013based artist Robert Lazzarini\u2019s first experiment in \u201ccomplex nonlinear distortion.\u201d He combined attributes of different cups and saucers to arrive at a new type of object. He first drew the cup and saucer using three-dimensional modeling software, and then he laser-scanned a spoon. He next applied multiple sine wave patterns along different axes through these virtual objects. After finishing the virtual modeling stage, Lazzarini used the rendering to create a series of three-dimensional prototypes. He then hand-finished the prototypes, smoothing the surfaces and sculpting a chip in the rim of the cup to suggest years of use."}],"dimensionalData":[{"dimID":46544,"dimensions":"saucer 4.5 x 15 cm","description":"Object Height\/Diameter"},{"dimID":46545,"dimensions":"saucer 1 3\/4 x 5 7\/8 in","description":"Object Height\/Diameter"},{"dimID":46546,"dimensions":"spoon 2 x 16.5 cm","description":"Object Height\/Width"},{"dimID":46547,"dimensions":"spoon 3\/4 x 6 1\/2 in","description":"Object Height\/Width"},{"dimID":28922,"dimensions":"cup 8 x 15 cm","description":"Object Height\/Diameter"},{"dimID":28924,"dimensions":"cup 3 1\/8 x 5 7\/8 in","description":"Object Height\/Diameter"}]},{"id":134,"objectID":27834,"title":"standing Bodhisattva","accessionNumber":"2006.0147.a,b","geoAssoc":"Japan","currLoc":"401, Loo Gallery, 401, Cabinet C1","alias":"","objectDate":"Edo period (1600\u20131868)","material":"wood, lacquer, carving, glass, gilding","creditLine":"Gift of the Mauser Harmony with Nature Foundation, Inc., in memory of Dr. Ferdinand F. Mauser 1914\u20131994","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76278,"collectionID":3397,"collectionType":"exhibition","description":"With their serene expressions and golden bodies, these wood sculptures depict bodhisattvas. The term bodhisattva, literally meaning \u201cenlightenment being,\u201d describes people who have vowed to become Buddhas. Seen as savior figures who embody compassion, bodhisattvas are a source of protection and comfort during times of danger or distress. \r\n\r\nThe specific identities of these sculptures remain unknown because it is unclear what gestures they made or what objects they held. However, their divine status is evidenced by their idealized, youthful, and otherworldly appearance. Each figure sways their hips slightly, balancing their weight on one foot in an S-shaped stance. This posture echoes multicultural aesthetics introduced to Japan centuries earlier through imagery from Tang-era China (618 CE\u2013907 CE). Their attire references aesthetics associated with Indian princes. Both the gilded surfaces of the icons and the lotus pedestals they stand on signify their sacred status.","displayDescription":"With their serene expressions and golden bodies, these wood sculptures depict bodhisattvas. The term bodhisattva, literally meaning \u201cenlightenment being,\u201d describes people who have vowed to become Buddhas. Seen as savior figures who embody compassion, bodhisattvas are a source of protection and comfort during times of danger or distress. \r\n\r\nThe specific identities of these sculptures remain unknown because it is unclear what gestures they made or what objects they held. However, their divine status is evidenced by their idealized, youthful, and otherworldly appearance. Each figure sways their hips slightly, balancing their weight on one foot in an S-shaped stance. This posture echoes multicultural aesthetics introduced to Japan centuries earlier through imagery from Tang-era China (618 CE\u2013907 CE). Their attire references aesthetics associated with Indian princes. Both the gilded surfaces of the icons and the lotus pedestals they stand on signify their sacred status."}],"dimensionalData":[{"dimID":67909,"dimensions":"46.5 x 16.5 cm including base","description":"Object Height\/Diameter"},{"dimID":67910,"dimensions":"18 1\/4 x 6 1\/2 in including base","description":"Object Height\/Diameter"}]},{"id":135,"objectID":27835,"title":"standing Bodhisattva","accessionNumber":"2006.0146.a,b","geoAssoc":"Japan","currLoc":"401, Loo Gallery, 401, Cabinet C1","alias":"","objectDate":"Edo period (1600\u20131868)","material":"wood, lacquer, carving, glass, gilding","creditLine":"Gift of the Mauser Harmony with Nature Foundation, Inc., in memory of Dr. Ferdinand F. Mauser 1914\u20131994","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76279,"collectionID":3397,"collectionType":"exhibition","description":"With their serene expressions and golden bodies, these wood sculptures depict bodhisattvas. The term bodhisattva, literally meaning \u201cenlightenment being,\u201d describes people who have vowed to become Buddhas. Seen as savior figures who embody compassion, bodhisattvas are a source of protection and comfort during times of danger or distress. \r\n\r\nThe specific identities of these sculptures remain unknown because it is unclear what gestures they made or what objects they held. However, their divine status is evidenced by their idealized, youthful, and otherworldly appearance. Each figure sways their hips slightly, balancing their weight on one foot in an S-shaped stance. This posture echoes multicultural aesthetics introduced to Japan centuries earlier through imagery from Tang-era China (618 CE\u2013907 CE). Their attire references aesthetics associated with Indian princes. Both the gilded surfaces of the icons and the lotus pedestals they stand on signify their sacred status.","displayDescription":"With their serene expressions and golden bodies, these wood sculptures depict bodhisattvas. The term bodhisattva, literally meaning \u201cenlightenment being,\u201d describes people who have vowed to become Buddhas. Seen as savior figures who embody compassion, bodhisattvas are a source of protection and comfort during times of danger or distress. \r\n\r\nThe specific identities of these sculptures remain unknown because it is unclear what gestures they made or what objects they held. However, their divine status is evidenced by their idealized, youthful, and otherworldly appearance. Each figure sways their hips slightly, balancing their weight on one foot in an S-shaped stance. This posture echoes multicultural aesthetics introduced to Japan centuries earlier through imagery from Tang-era China (618 CE\u2013907 CE). Their attire references aesthetics associated with Indian princes. Both the gilded surfaces of the icons and the lotus pedestals they stand on signify their sacred status."}],"dimensionalData":[{"dimID":67908,"dimensions":"19 1\/4 x 5 7\/8 in including base","description":"Object Height\/Diameter"},{"dimID":67907,"dimensions":"49 x 15 cm including base","description":"Object Height\/Diameter"}]},{"id":136,"objectID":28098,"title":"table screen","accessionNumber":"1989.0271.01.a,b","geoAssoc":"China","currLoc":"401, Loo Gallery, 401, Cabinet E3","alias":"","objectDate":"late 1800s, Qing dynasty (1644\u20131911)","material":"ivory, wood","creditLine":"Gift of Dr. and Mrs. Warren H. Cole","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76260,"collectionID":3397,"collectionType":"exhibition","description":"These works elicit two different interpretations of landscape. The carved ivory table screen from China depicts an idealized mountain landscape, and was intended to provide scholars an image of nature for inspiration. Richard Hollander\u2019s bronze minimalist sculpture evokes the blazing sun often equated with the vast western landscapes of his adopted home in Kansas City.","displayDescription":"These works elicit two different interpretations of landscape. The carved ivory table screen from China depicts an idealized mountain landscape, and was intended to provide scholars an image of nature for inspiration. Richard Hollander\u2019s bronze minimalist sculpture evokes the blazing sun often equated with the vast western landscapes of his adopted home in Kansas City."}],"dimensionalData":[{"dimID":45220,"dimensions":"28 x 13 x 12 cm","description":"Object Height\/Width\/Depth"},{"dimID":45221,"dimensions":"11 x 5 1\/8 x 4 3\/4 in","description":"Object Height\/Width\/Depth"}]},{"id":139,"objectID":30330,"title":"Hibou (Owl)","accessionNumber":"2006.0307","geoAssoc":"France","currLoc":"401, Loo Gallery, 401, Cabinet D1","alias":"","objectDate":"1953","material":"clay, paint","creditLine":"Anonymous gift","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76341,"collectionID":3397,"collectionType":"exhibition","description":"After visiting the annual ceramic exhibit in Vallauris in the south of France in 1946, Pablo Picasso was so impressed by the Madoura Pottery workshop that he sought out the owners Suzanne and Georges Rami\u00e9. They invited him to their workshop, where Picasso made three pieces and left them to dry and bake. When he returned the next year, he was so delighted by the result that he began a long and productive partnership with the Madoura Workshop. The entire Madoura team was involved, and Suzanne Rami\u00e9 in particular taught Picasso her craft secrets. Owls, like this piece, feature prominently in Picasso\u2019s ceramic works. They may have had special relevance as the owl was the ancient symbol of Antibes, the region neighboring Vallauris, where Picasso spent his summers making ceramics in the final years of his life.","displayDescription":"After visiting the annual ceramic exhibit in Vallauris in the south of France in 1946, Pablo Picasso was so impressed by the Madoura Pottery workshop that he sought out the owners Suzanne and Georges Rami\u00e9. They invited him to their workshop, where Picasso made three pieces and left them to dry and bake. When he returned the next year, he was so delighted by the result that he began a long and productive partnership with the Madoura Workshop. The entire Madoura team was involved, and Suzanne Rami\u00e9 in particular taught Picasso her craft secrets. Owls, like this piece, feature prominently in Picasso\u2019s ceramic works. They may have had special relevance as the owl was the ancient symbol of Antibes, the region neighboring Vallauris, where Picasso spent his summers making ceramics in the final years of his life."}],"dimensionalData":[{"dimID":65060,"dimensions":"30 x 20 x 17 cm","description":"Object Height\/Width\/Depth"},{"dimID":65062,"dimensions":"11 3\/4 x 7 7\/8 x 6 11\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":143,"objectID":31730,"title":"equestrian figure","accessionNumber":"2007.3039","geoAssoc":"Cameroon?","currLoc":"401, Loo Gallery, 401, Cabinet D2","alias":"","objectDate":"late 1800s\u20131975","material":"brass","creditLine":"Gift of Mr. and Mrs. H. Kenneth Palmer","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76258,"collectionID":3397,"collectionType":"exhibition","description":"The Dogon people live in the remote cliffs of Bandiagara in Mali. The remoteness and the arid climate of this region have insulated the Dogon people from external influences, allowing them to preserve their ancient religious beliefs and artistic traditions. This powerful depiction of a figure riding astride a rearing horse is made from metals that Dogon makers most likely obtained through trans-Saharan trade networks that brought copper from Spain, north Africa, and the Sahara to commercial centers of the Sahel and Sudan.","displayDescription":"The Dogon people live in the remote cliffs of Bandiagara in Mali. The remoteness and the arid climate of this region have insulated the Dogon people from external influences, allowing them to preserve their ancient religious beliefs and artistic traditions. This powerful depiction of a figure riding astride a rearing horse is made from metals that Dogon makers most likely obtained through trans-Saharan trade networks that brought copper from Spain, north Africa, and the Sahara to commercial centers of the Sahel and Sudan."}],"dimensionalData":[{"dimID":91720,"dimensions":"57 x 15 x 42 cm","description":"Object Height\/Width\/Length"},{"dimID":91721,"dimensions":"22 7\/16 x 5 7\/8 x 16 1\/2 in","description":"Object Height\/Width\/Length"}]},{"id":145,"objectID":32144,"title":"brass pot","accessionNumber":"2007.3018","geoAssoc":"Mamluk Sultanate (present-day Syria and Egypt)","currLoc":"407, Kress Gallery, 407, C1","alias":"","objectDate":"1250\u20131517","material":"bronze, zinc, copper","creditLine":"Gift of Dr. Curt Von Wedel","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78548,"collectionID":3475,"collectionType":"exhibition","description":"Trade connected the ruling Mamluk Sultanate in Egypt to the Akan confederation in Ghana. Traders exchanged brass and silk for gold dust, textiles, and other goods. Asante kings, believing in the sacred power of Islamic prayer and Qur\u2019anic script, collected items such as Mamluk ablutions vessels\u2014containers for ritual cleansing before prayer\u2014for use in Asante traditional religion.","displayDescription":"Trade connected the ruling Mamluk Sultanate in Egypt to the Akan confederation in Ghana. Traders exchanged brass and silk for gold dust, textiles, and other goods. Asante kings, believing in the sacred power of Islamic prayer and Qur\u2019anic script, collected items such as Mamluk ablutions vessels\u2014containers for ritual cleansing before prayer\u2014for use in Asante traditional religion."}],"dimensionalData":[{"dimID":91679,"dimensions":"10.5 x 15 cm","description":"Object Height\/Diameter"},{"dimID":91680,"dimensions":"4 1\/8 x 5 7\/8 in","description":"Object Height\/Diameter"}]},{"id":148,"objectID":33462,"title":"bust of a woman","accessionNumber":"2007.3079","geoAssoc":"Union of South Africa (present-day South Africa)","currLoc":"401, Loo Gallery, 401, Cabinet D2","alias":"","objectDate":"1930s\u20131963","material":"ceramic","creditLine":"Gift of Anne Hart","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76291,"collectionID":3397,"collectionType":"exhibition","description":"With piercing eyes and a furrowed brow, this\u202fportrait bust of an unidentified\u202fwoman\u202fpossesses a\u202fpowerful\u202fexpression. Sculptor\u202fHezekiel\u202fNtuli rendered his subject\u2019s features\u202fin minute detail\u202fwith expressive flourishes.\u202fNtuli, who lived and worked in present-day South Africa, is known for his\u202fingenuity\u202fas a clay\u202fsculptor.  \r\n\r\nFrom childhood\u202fNtuli\u202fmade clay\u202fanimal\u202fsculptures, and as a teenager he began selling his art in the commercial center of\u202fPietermaritzburg.\u202fColonial authorities noted his talent and contracted him as an artist for the\u202fDepartment of Native Affairs,\u202fbut due to the discriminatory policies of the apartheid government,\u202fhe was denied a formal education. Despite this, he remained an active and innovative\u202fartist. After a large number of his artworks were donated to the Natal Museum in\u202fPietermaritzburg, he became one of the first Black artists in the region to be recognized by name in a public museum.","displayDescription":"With piercing eyes and a furrowed brow, this\u202fportrait bust of an unidentified\u202fwoman\u202fpossesses a\u202fpowerful\u202fexpression. Sculptor\u202fHezekiel\u202fNtuli rendered his subject\u2019s features\u202fin minute detail\u202fwith expressive flourishes.\u202fNtuli, who lived and worked in present-day South Africa, is known for his\u202fingenuity\u202fas a clay\u202fsculptor.  \r\n\r\nFrom childhood\u202fNtuli\u202fmade clay\u202fanimal\u202fsculptures, and as a teenager he began selling his art in the commercial center of\u202fPietermaritzburg.\u202fColonial authorities noted his talent and contracted him as an artist for the\u202fDepartment of Native Affairs,\u202fbut due to the discriminatory policies of the apartheid government,\u202fhe was denied a formal education. Despite this, he remained an active and innovative\u202fartist. After a large number of his artworks were donated to the Natal Museum in\u202fPietermaritzburg, he became one of the first Black artists in the region to be recognized by name in a public museum."}],"dimensionalData":[{"dimID":91838,"dimensions":"12 x 9 x 7 cm","description":"Object Height\/Width\/Depth"},{"dimID":91839,"dimensions":"4 3\/4 x 3 1\/2 x 2 3\/4 in","description":"Object Height\/Width\/Length"}]},{"id":161,"objectID":36737,"title":"jar","accessionNumber":"2007.4597","geoAssoc":"New Mexico, United States","currLoc":"401, Loo Gallery, 401, Cabinet B1","alias":"","objectDate":"early 1900s\u20131992","material":"ceramic, paint","creditLine":"Gift from the Estate of Karl Menninger and his family","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76222,"collectionID":3397,"collectionType":"exhibition","description":"Although Lucy M. Lewis had no formal training or education, she is one of the most celebrated Acoma artists. Lewis is known for her distinctive black and white pottery, which is made using a combination\u202fof\u202ftechniques and designs passed down from generations of\u202fpotters and of\u202fher own imagination. Lewis learned how to make pottery as a child by observing women in her community.  \r\n\r\nThe clay Lewis used is found\u202fnear\u202fthe Acoma Pueblo, with only community members knowing its exact location. Made by hand using the coil building method, the pottery is painted with a white slip, or liquid clay, leaving a blank canvas for decoration. A black, mineral-based paint is then used to add designs\u202flike the\u202fstarburst on this vase. Once fully decorated, the piece is fired in a traditional pit kiln. The resulting pottery is distinctive in shape, color,\u202fand pattern.","displayDescription":"Although Lucy M. Lewis had no formal training or education, she is one of the most celebrated Acoma artists. Lewis is known for her distinctive black and white pottery, which is made using a combination\u202fof\u202ftechniques and designs passed down from generations of\u202fpotters and of\u202fher own imagination. Lewis learned how to make pottery as a child by observing women in her community.  \r\n\r\nThe clay Lewis used is found\u202fnear\u202fthe Acoma Pueblo, with only community members knowing its exact location. Made by hand using the coil building method, the pottery is painted with a white slip, or liquid clay, leaving a blank canvas for decoration. A black, mineral-based paint is then used to add designs\u202flike the\u202fstarburst on this vase. Once fully decorated, the piece is fired in a traditional pit kiln. The resulting pottery is distinctive in shape, color,\u202fand pattern."}],"dimensionalData":[{"dimID":97452,"dimensions":"15 x 20 cm","description":"Object Height\/Diameter"},{"dimID":97453,"dimensions":"5 7\/8 x 7 7\/8 in","description":"Object Height\/Diameter"}]},{"id":171,"objectID":39214,"title":"sowei mask","accessionNumber":"2007.2922","geoAssoc":"Liberia","currLoc":"317, Perkins Central Court, 317, C5","alias":"","objectDate":"mid-late 1900s","material":"wood, pigment, palm oil, carving","creditLine":"Gift of Jill Zinn","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76283,"collectionID":3397,"collectionType":"exhibition","description":"The blackened sowei or \u201cancestral spirit\u201d mask, traditionally colored with plant materials, embodies the initiation of young girls into the Sande society. This marks their transformation into full members of their community. The symmetry of form, downcast eyes, high forehead, and elaborately coiffed hair represent an idealized woman valued for her modesty, wisdom, and refinement. These masks represent the society\u2019s ancestral spirit, Sowei, and were historically the only wooden masks commissioned, owned, and worn by Bassa women.","displayDescription":"The blackened sowei or \u201cancestral spirit\u201d mask, traditionally colored with plant materials, embodies the initiation of young girls into the Sande society. This marks their transformation into full members of their community. The symmetry of form, downcast eyes, high forehead, and elaborately coiffed hair represent an idealized woman valued for her modesty, wisdom, and refinement. These masks represent the society\u2019s ancestral spirit, Sowei, and were historically the only wooden masks commissioned, owned, and worn by Bassa women."}],"dimensionalData":[{"dimID":91377,"dimensions":"38 x 26.5 x 28.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":91378,"dimensions":"14 15\/16 x 10 3\/8 x 11 1\/4 in","description":"Object Height\/Width\/Depth"}]},{"id":173,"objectID":39907,"title":"British South Africa Company medallion","accessionNumber":"2007.0181","geoAssoc":"Rhodesia (present-day Zimbabwe)","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 4","alias":"","objectDate":"1897","material":"bronze, casting","creditLine":"Gift of Robert H. Brown Jr.","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":86917,"dimensions":"5.5 x 3.5 cm","description":"Object Height\/Width"},{"dimID":86918,"dimensions":"2 1\/8 x 1 3\/8 in","description":"Object Height\/Width"}]},{"id":176,"objectID":41465,"title":"Drawing for Prometheus I","accessionNumber":"2008.0001","geoAssoc":"United States","currLoc":"401, Loo Gallery, 401, Cabinet E1","alias":"","objectDate":"2006","material":"lava glaze, porcelain, slip casting","creditLine":"Museum purchase: Peter T. Bohan Art Acquisition Fund","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76342,"collectionID":3397,"collectionType":"exhibition","description":"Working as a ceramicist, Susannah Biondo-Gemmell often assumes the role of alchemist by intentionally altering and transforming the firing process, using fire as both her subject and tool. By attempting to capture the act of transformation, her work makes visible what she refers to as the \u201cmetaphysical nature of energy exchange.\u201d After firing a large mass of material, she cuts into the block, excavating the shapes and cavities formed by fire. In Greek mythology, the titular Prometheus is the god of fire who made humans from clay and then defiantly gave them the gift of fire.","displayDescription":"Working as a ceramicist, Susannah Biondo-Gemmell often assumes the role of alchemist by intentionally altering and transforming the firing process, using fire as both her subject and tool. By attempting to capture the act of transformation, her work makes visible what she refers to as the \u201cmetaphysical nature of energy exchange.\u201d After firing a large mass of material, she cuts into the block, excavating the shapes and cavities formed by fire. In Greek mythology, the titular Prometheus is the god of fire who made humans from clay and then defiantly gave them the gift of fire."}],"dimensionalData":[{"dimID":81498,"dimensions":"36 x 35.5 x 11.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":81499,"dimensions":"14 1\/8 x 14 x 4 1\/2 in","description":"Object Height\/Width\/Depth"},{"dimID":163820,"dimensions":"25 lbs","description":"Weight"}]},{"id":178,"objectID":41563,"title":"British South Africa Company with Rhodesia bar (1896) and Mashonaland bar (1890)","accessionNumber":"2007.0182","geoAssoc":"Rhodesia (present-day Zimbabwe)","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 4","alias":"","objectDate":"1890\u20131896","material":"bronze, casting, silk, dyeing","creditLine":"Gift of Robert H. Brown Jr.","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":86919,"dimensions":"13 x 3.5 cm","description":"Object Height\/Width"},{"dimID":86920,"dimensions":"5 1\/8 x 1 3\/8 in","description":"Object Height\/Width"}]},{"id":179,"objectID":41564,"title":"Union of South Africa commemorative medal","accessionNumber":"2007.0183","geoAssoc":"Union of South Africa (present-day South Africa)","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 4","alias":"","objectDate":"1910","material":"metal, silk, casting, dyeing","creditLine":"Gift of Robert H. Brown Jr.","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":86921,"dimensions":"8 x 3 cm","description":"Object Height\/Width"},{"dimID":86922,"dimensions":"3 1\/8 x 1 1\/8 in","description":"Object Height\/Width"}]},{"id":180,"objectID":41776,"title":"\u745e\u5b9d\u7ae0 Zuih\u014dsh\u014d (First Class Medal of the Order of the Sacred Treasure)","accessionNumber":"1928.2966.b","geoAssoc":"Japan","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 4","alias":"","objectDate":"November 1, 1895, Meiji period (1868\u20131912)","material":"metal","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[]},{"id":181,"objectID":42659,"title":"Water Carrier","accessionNumber":"2009.0106","geoAssoc":"Santa Fe, New Mexico and Lawrence, Kansas, United States","currLoc":"outdoors, in front of Spooner Hall","alias":"","objectDate":"1994","material":"bronze","creditLine":"Gift of Clarence J. and Hazel M. Beck of Rye, New Hampshire, to commemorate the 1994 centennial of Spooner Hall","exhibition":[],"tour":[{"id":1857,"priority":null}],"assignment":[],"descriptionData":[{"descriptionID":25104,"collectionID":1857,"collectionType":"tour","description":"Tap the Web icon for a map and walking directions to this sculpture.","displayDescription":"Tap the Web icon for a map and walking directions to this sculpture."}],"dimensionalData":[{"dimID":85441,"dimensions":"243.84 x 91.44 cm","description":"Object Height\/Diameter"},{"dimID":85442,"dimensions":"96 x 36 in","description":"Object Height\/Diameter"},{"dimID":85444,"dimensions":"3000 lbs","description":"Weight"}]},{"id":182,"objectID":42964,"title":"bianhu (pilgrimage flask) with dancing monkey","accessionNumber":"2010.0030","geoAssoc":"China","currLoc":"401, Loo Gallery, 401, Cabinet D3","alias":"","objectDate":"600\u2013700s, early Tang dynasty (618 CE\u2013907 CE)","material":"molded porcelain","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76326,"collectionID":3397,"collectionType":"exhibition","description":"This pilgrimage flask and bronze coin encapsulate the circuits of exchange that facilitated the spread of Buddhism across Asia. The tradition of carrying small ceramic flasks with an image or contents of devotion first developed in the Mediterranean world, where it was used by both Romans and early Christians. As the practice spread to Persia (present-day Iran), Central Asian merchants brought metal prototypes to China, where artisans translated the shapes, designs, and motifs into earthenware. \r\n\r\nVessels like this one were known as bianhu or flattened flasks. This bianhu features a voluptuous dancing monkey holding a wine cup and ewer with a design from Sassanian culture (a pre-Islamic Persian empire, 224 CE\u2013651 CE). Made of soft white porcelain pinched into a mold and covered with a light translucent glaze, vessels such as this were popular funerary items, and expressed a fascination with the exotic that characterized this time period.","displayDescription":"This pilgrimage flask and bronze coin encapsulate the circuits of exchange that facilitated the spread of Buddhism across Asia. The tradition of carrying small ceramic flasks with an image or contents of devotion first developed in the Mediterranean world, where it was used by both Romans and early Christians. As the practice spread to Persia (present-day Iran), Central Asian merchants brought metal prototypes to China, where artisans translated the shapes, designs, and motifs into earthenware. \r\n\r\nVessels like this one were known as bianhu or flattened flasks. This bianhu features a voluptuous dancing monkey holding a wine cup and ewer with a design from Sassanian culture (a pre-Islamic Persian empire, 224 CE\u2013651 CE). Made of soft white porcelain pinched into a mold and covered with a light translucent glaze, vessels such as this were popular funerary items, and expressed a fascination with the exotic that characterized this time period."}],"dimensionalData":[{"dimID":94300,"dimensions":"6 1\/4 x 4 3\/4 x 2 3\/8 in","description":"Object Height\/Width\/Depth"},{"dimID":88876,"dimensions":"15.9 x 12 x 6 cm","description":"Object Height\/Width\/Depth"}]},{"id":183,"objectID":43316,"title":"\u666e\u8ce2\u83e9\u85a9 Fugen Bosatsu (The Bodhisattva Ma\u00f1ju\u015br\u012b riding a white elephant)","accessionNumber":"2010.0182","geoAssoc":"Japan","currLoc":"401, Loo Gallery, 401, Cabinet C2","alias":"","objectDate":"late 1960s","material":"clay","creditLine":"Gift of Ruth Kitson Lawson","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76280,"collectionID":3397,"collectionType":"exhibition","description":"Riding on an elephant, bodhisattva Samantabhadra sits in the noble posture (sattvaparya\u1e45ka) with his hands clasped in a gesture of veneration called the a\u00f1jali mudra. Samantabhadra is a deity in Mah\u0101y\u0101na Buddhism whose name means \u201cuniversal goodness\u201d in Sanskrit. Worshiped as a protector and teacher, Samantabhadra embodies self-perfection through the mental aspiration to achieve enlightenment. \r\n\r\nThis sculpture belongs to a regional ceramic tradition dating back to the beginning of the 17th century. Hakata ningy\u014d originated in the Hakata ward of Fukuoka on the Japanese island Kyushu and are typically made from locally sourced white clay. After the first firing, the craftsperson applies undercoats of gofun, a white pigment made from clam and oyster shells, along with natural pigments to create the vivid coloration. Hakata ningy\u014d remains an active folk tradition today, and this image\u2019s sculptor, Nakanoko Tami, was from an established family of Hakata ningy\u014d makers.","displayDescription":"Riding on an elephant, bodhisattva Samantabhadra sits in the noble posture (sattvaparya\u1e45ka) with his hands clasped in a gesture of veneration called the a\u00f1jali mudra. Samantabhadra is a deity in Mah\u0101y\u0101na Buddhism whose name means \u201cuniversal goodness\u201d in Sanskrit. Worshiped as a protector and teacher, Samantabhadra embodies self-perfection through the mental aspiration to achieve enlightenment. \r\n\r\nThis sculpture belongs to a regional ceramic tradition dating back to the beginning of the 17th century. Hakata ningy\u014d originated in the Hakata ward of Fukuoka on the Japanese island Kyushu and are typically made from locally sourced white clay. After the first firing, the craftsperson applies undercoats of gofun, a white pigment made from clam and oyster shells, along with natural pigments to create the vivid coloration. Hakata ningy\u014d remains an active folk tradition today, and this image\u2019s sculptor, Nakanoko Tami, was from an established family of Hakata ningy\u014d makers."}],"dimensionalData":[{"dimID":101223,"dimensions":"36.5 x 29 x 12.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":101224,"dimensions":"14 3\/8 x 11 3\/8 x 4 7\/8 in","description":"Object Height\/Width\/Depth"}]},{"id":185,"objectID":43510,"title":"Reserved","accessionNumber":"2011.0008","geoAssoc":"Pakistan","currLoc":"317, Perkins Central Court, 317, E4","alias":"","objectDate":"2006","material":"double-channel video, 9 minutes","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76390,"collectionID":3397,"collectionType":"exhibition","description":"In the short film Reserved, artist Bani Abidi addresses the most basic levels of Pakistani society to uncover how the state interferes in everyday lives. The plot seems simple: A city comes to a halt awaiting the arrival of a state dignitary. Traffic is blocked for the motorcade. School children hold paper flags to wave as the cars pass by. Bureaucrats pace anxiously on a red carpet.  \r\n\r\nHowever, the story is nuanced. Abidi focuses the narrative on the common people rather than the dignitary. The halt of traffic for the motorcade becomes a moment for onlookers to share a cigarette or sell goods. The uniformed school children refuse to obey their teachers and run to a passing ice cream vendor. Through intense attention to things at the periphery of the scene, Abidi brings a visual poetry to her subjects. This subtle observation reveals the solidarity of resistance against the state.","displayDescription":"In the short film Reserved, artist Bani Abidi addresses the most basic levels of Pakistani society to uncover how the state interferes in everyday lives. The plot seems simple: A city comes to a halt awaiting the arrival of a state dignitary. Traffic is blocked for the motorcade. School children hold paper flags to wave as the cars pass by. Bureaucrats pace anxiously on a red carpet.  \r\n\r\nHowever, the story is nuanced. Abidi focuses the narrative on the common people rather than the dignitary. The halt of traffic for the motorcade becomes a moment for onlookers to share a cigarette or sell goods. The uniformed school children refuse to obey their teachers and run to a passing ice cream vendor. Through intense attention to things at the periphery of the scene, Abidi brings a visual poetry to her subjects. This subtle observation reveals the solidarity of resistance against the state."}],"dimensionalData":[]},{"id":186,"objectID":43692,"title":"Dean James Wood Green Memorial","accessionNumber":"T2011.083","geoAssoc":null,"currLoc":"outdoors, in front of Lippincott Hall","alias":"","objectDate":"1924","material":"bronze","creditLine":null,"exhibition":[],"tour":[{"id":1857,"priority":null}],"assignment":[],"descriptionData":[{"descriptionID":25105,"collectionID":1857,"collectionType":"tour","description":"Tap the Web icon for a map and walking directions to this sculpture.","displayDescription":"Tap the Web icon for a map and walking directions to this sculpture."}],"dimensionalData":[]},{"id":193,"objectID":43891,"title":"Flowers and Butterflies","accessionNumber":"2011.0257","geoAssoc":"Haiti","currLoc":"317, Perkins Central Court, 317, N3","alias":"","objectDate":"circa 1970","material":"paint, hardboard","creditLine":"Mary Lou Vansant Hughes Collection","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76224,"collectionID":3397,"collectionType":"exhibition","description":"This painting shows an\u202f assortment\u202fof flowers and butterflies in a field with rolling mountains\u202fin the background.\u202fIn Haitian art butterflies often represent lwa, the spirits\u202fthat take form as\u202fmajor forces of the universe or as ancestors who assist humans.\u202fThe scene of colorful flora and fauna conveys a lazy summer afternoon.\u202fMany of\u202fBryoche\u2019s\u202fworks have a similar sense of serenity.","displayDescription":"This painting shows an\u202f assortment\u202fof flowers and butterflies in a field with rolling mountains\u202fin the background.\u202fIn Haitian art butterflies often represent lwa, the spirits\u202fthat take form as\u202fmajor forces of the universe or as ancestors who assist humans.\u202fThe scene of colorful flora and fauna conveys a lazy summer afternoon.\u202fMany of\u202fBryoche\u2019s\u202fworks have a similar sense of serenity."}],"dimensionalData":[{"dimID":100400,"dimensions":"16 1\/8 x 15 1\/8 in","description":"Canvas\/Support"},{"dimID":100401,"dimensions":"18 1\/2 x 17 1\/2 x 1\/2 in","description":"Frame Dimensions"},{"dimID":99684,"dimensions":"41 x 38.5 cm","description":"Canvas\/Support"}]},{"id":194,"objectID":43909,"title":"Nude Woman on a Horse","accessionNumber":"2011.0274","geoAssoc":"Haiti","currLoc":"317, Perkins Central Court, 317, W1","alias":"","objectDate":"circa 1970","material":"oil, hardboard","creditLine":"Mary Lou Vansant Hughes Collection","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76211,"collectionID":3397,"collectionType":"exhibition","description":"This lush painting is a celebration of life and renewal.\u202fEvoking\u202fthe visual elements of the story of Lady Godiva, a nude\u202fwoman rides a horse through the Haitian countryside with her hair flowing behind her.\u202fA\u202flarge\u202ffruit-bearing tree with flowers\u202fis\u202fnestled at the base\u202fof the\u202fcrops\u202fthat\u202fline\u202fthe backdrop\u202fand\u202fsurround the\u202fwoman. Animals of all\u202ftypes\u202fgraze\u202fon the abundance of\u202fvegetation\u202fwhile\u202fa\u202fHaitian boy washes himself in\u202fthe stream. This scene\u202fof beauty and bounty\u202fis a\u202ftypical\u202fsubject\u202ffor\u202fMax Gerbier,\u202fwho was born in\u202fMilot, Haiti,\u202fand was proud of his homeland.","displayDescription":"This lush painting is a celebration of life and renewal.\u202fEvoking\u202fthe visual elements of the story of Lady Godiva, a nude\u202fwoman rides a horse through the Haitian countryside with her hair flowing behind her.\u202fA\u202flarge\u202ffruit-bearing tree with flowers\u202fis\u202fnestled at the base\u202fof the\u202fcrops\u202fthat\u202fline\u202fthe backdrop\u202fand\u202fsurround the\u202fwoman. Animals of all\u202ftypes\u202fgraze\u202fon the abundance of\u202fvegetation\u202fwhile\u202fa\u202fHaitian boy washes himself in\u202fthe stream. This scene\u202fof beauty and bounty\u202fis a\u202ftypical\u202fsubject\u202ffor\u202fMax Gerbier,\u202fwho was born in\u202fMilot, Haiti,\u202fand was proud of his homeland."}],"dimensionalData":[{"dimID":100128,"dimensions":"19 7\/8 x 24 in","description":"Canvas\/Support"},{"dimID":100130,"dimensions":"24 3\/4 x 28 3\/4 x 1 3\/4 in","description":"Frame Dimensions"},{"dimID":99702,"dimensions":"50.5 x 61 cm","description":"Canvas\/Support"}]},{"id":195,"objectID":43914,"title":"Bowl of Fruit","accessionNumber":"2011.0279","geoAssoc":"Haiti","currLoc":"317, Perkins Central Court, 317, N3","alias":"","objectDate":"circa 1970","material":"paint, hardboard","creditLine":"Mary Lou Vansant Hughes Collection","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76228,"collectionID":3397,"collectionType":"exhibition","description":"In Bowl of Fruit, simple lines, symmetry,\u202fand bold colors communicate joy, happiness, and child-like innocence.\u202fThis composition is a\u202ff\u00eate\u202for \u201cparty\u201d\u202fof fruits, roots, and vegetables, with a festive garland of cashew fruits hanging like a string of lights at the top.\u202fPineapples, which are common symbols of friendliness and gratitude, are featured in the center and upper corners of the composition.\u202f\u202fAlexandre\u202fGr\u00e9goire\u202fbegan\u202fpainting at the Centre\u202fd\u2019Art, an art school and gallery in Haiti, in 1968.","displayDescription":"In Bowl of Fruit, simple lines, symmetry,\u202fand bold colors communicate joy, happiness, and child-like innocence.\u202fThis composition is a\u202ff\u00eate\u202for \u201cparty\u201d\u202fof fruits, roots, and vegetables, with a festive garland of cashew fruits hanging like a string of lights at the top.\u202fPineapples, which are common symbols of friendliness and gratitude, are featured in the center and upper corners of the composition.\u202f\u202fAlexandre\u202fGr\u00e9goire\u202fbegan\u202fpainting at the Centre\u202fd\u2019Art, an art school and gallery in Haiti, in 1968."}],"dimensionalData":[{"dimID":100174,"dimensions":"16 1\/8 x 24 in","description":"Canvas\/Support"},{"dimID":100175,"dimensions":"21 3\/4 x 29 3\/4 x 1 3\/4 in","description":"Frame Dimensions"},{"dimID":99707,"dimensions":"41 x 61 cm","description":"Canvas\/Support"}]},{"id":196,"objectID":43929,"title":"still life with basket of flowers, pineapple, and basket of fruit","accessionNumber":"2011.0294","geoAssoc":"Haiti","currLoc":"317, Perkins Central Court, 317, N3","alias":"","objectDate":"circa 1970","material":"paint, hardboard","creditLine":"Mary Lou Vansant Hughes Collection","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76232,"collectionID":3397,"collectionType":"exhibition","description":"In this painting by Philton\u202fLatortue, cool greens and blues in the flower bouquet\u202fcontrast with the warm autumnal colors of the pineapple and basket of vegetables and fruits. The artist captures motion with a yellow petal shown in mid-air as it falls onto the table. Flowers in Haitian still lifes often reflect the cycle of birth, life, and death.\u202fThe pineapple, symbolizing hospitality, suggests that this table is an offering to\u202fErzulie, the lwa, or Vodou spirit, of love.","displayDescription":"In this painting by Philton\u202fLatortue, cool greens and blues in the flower bouquet\u202fcontrast with the warm autumnal colors of the pineapple and basket of vegetables and fruits. The artist captures motion with a yellow petal shown in mid-air as it falls onto the table. Flowers in Haitian still lifes often reflect the cycle of birth, life, and death.\u202fThe pineapple, symbolizing hospitality, suggests that this table is an offering to\u202fErzulie, the lwa, or Vodou spirit, of love."}],"dimensionalData":[{"dimID":100123,"dimensions":"19 5\/8 x 15 15\/16 in","description":"Canvas\/Support"},{"dimID":100125,"dimensions":"22 1\/4 x 18 1\/4 x 3\/4 in","description":"Frame Dimensions"},{"dimID":99724,"dimensions":"50 x 40.5 cm","description":"Canvas\/Support"}]},{"id":197,"objectID":43931,"title":"Pot of Pansies with Hummingbirds","accessionNumber":"2011.0296","geoAssoc":"Haiti","currLoc":"317, Perkins Central Court, 317, N3","alias":"","objectDate":"circa 1970","material":"paint, hardboard","creditLine":"Mary Lou Vansant Hughes Collection","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76225,"collectionID":3397,"collectionType":"exhibition","description":"The four birds painted here by Monique Larose are most likely Antillean mango hummingbirds (Anthracothorax dominicus), best identified by their downward-curving bills. Adult males have dark bellies with bright orange and green on their neck, throat, back, and tail feathers. Larose has captured a brief moment where the normally frantic wingbeats of these tiny, gem-like birds are frozen in time.\u202fThe flowers,\u202fhummingbirds, and colors used by Larose may also\u202fsymbolize and honor Erzulie, the\u202fVodou spirit of love.","displayDescription":"The four birds painted here by Monique Larose are most likely Antillean mango hummingbirds (Anthracothorax dominicus), best identified by their downward-curving bills. Adult males have dark bellies with bright orange and green on their neck, throat, back, and tail feathers. Larose has captured a brief moment where the normally frantic wingbeats of these tiny, gem-like birds are frozen in time.\u202fThe flowers,\u202fhummingbirds, and colors used by Larose may also\u202fsymbolize and honor Erzulie, the\u202fVodou spirit of love."}],"dimensionalData":[{"dimID":99726,"dimensions":"40 x 28 cm","description":"Canvas\/Support"},{"dimID":100464,"dimensions":"15 3\/4 x 11 in","description":"Canvas\/Support"},{"dimID":100465,"dimensions":"18 1\/4 x 13 1\/4 in","description":"Frame Dimensions"}]},{"id":199,"objectID":43949,"title":"gathering fruit","accessionNumber":"2011.0313","geoAssoc":"Haiti","currLoc":"317, Perkins Central Court, 317, N3","alias":"","objectDate":"circa 1970","material":"paint, hardboard","creditLine":"Mary Lou Vansant Hughes Collection","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76229,"collectionID":3397,"collectionType":"exhibition","description":"Damien Paul, a self-taught artist from\u202fDrouillard, Haiti, entered the Centre\u202fd\u2019Art, an art school and gallery,\u202fin 1969. Paul\u202fis primarily\u202fan iron worker but also uses painting to depict scenes of Haitian life\u202fand ritual practices observed in\u202fVodou, a Haitian religion that unifies West African and Roman Catholic traditions and cosmology.\u202f Paul uses vivid colors to depict people gathering fruit in the forest,\u202fwhich he represents in natural patterns with rich and vibrant earth tones.","displayDescription":"Damien Paul, a self-taught artist from\u202fDrouillard, Haiti, entered the Centre\u202fd\u2019Art, an art school and gallery,\u202fin 1969. Paul\u202fis primarily\u202fan iron worker but also uses painting to depict scenes of Haitian life\u202fand ritual practices observed in\u202fVodou, a Haitian religion that unifies West African and Roman Catholic traditions and cosmology.\u202f Paul uses vivid colors to depict people gathering fruit in the forest,\u202fwhich he represents in natural patterns with rich and vibrant earth tones."}],"dimensionalData":[{"dimID":99744,"dimensions":"61 x 44.5 cm","description":"Canvas\/Support"},{"dimID":100197,"dimensions":"24 x 17 1\/2 in","description":"Canvas\/Support"},{"dimID":100198,"dimensions":"26 1\/2 x 20 x 1\/2 in","description":"Frame Dimensions"}]},{"id":200,"objectID":43957,"title":"Rejouir (Rejoice)","accessionNumber":"2011.0321","geoAssoc":"Haiti","currLoc":"317, Perkins Central Court, 317, N3","alias":"","objectDate":"circa 1970","material":"paint, hardboard","creditLine":"Mary Lou Vansant Hughes Collection","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76226,"collectionID":3397,"collectionType":"exhibition","description":"In contrast to the vibrancy of the flowers and background, the\u202fbirds\u202fand butterflies (or moths) in this painting\u202fare portrayed in shades of grey and white, a reminder of the cycle of life and death. The unique winding shape of the vase handle\u202fand its banded colors\u202fmay be a reference to the rainbow snake\u202fAydia-Weddo, the Vodou spirit of\u202ffertility, rainbows, wind, water, fire, and snakes.","displayDescription":"In contrast to the vibrancy of the flowers and background, the\u202fbirds\u202fand butterflies (or moths) in this painting\u202fare portrayed in shades of grey and white, a reminder of the cycle of life and death. The unique winding shape of the vase handle\u202fand its banded colors\u202fmay be a reference to the rainbow snake\u202fAydia-Weddo, the Vodou spirit of\u202ffertility, rainbows, wind, water, fire, and snakes."}],"dimensionalData":[{"dimID":100071,"dimensions":"24 x 24 in","description":"Object Height\/Width"},{"dimID":99752,"dimensions":"61 x 61 cm","description":"Object Height\/Width"},{"dimID":100686,"dimensions":"Not Framed 61 x 61 cm","description":"Canvas\/Support"}]},{"id":201,"objectID":43962,"title":"circular framed leaf composition in red and green","accessionNumber":"2011.0325","geoAssoc":"Haiti","currLoc":"317, Perkins Central Court, 317, N3","alias":"","objectDate":"1972\u20131985","material":"paint, hardboard","creditLine":"Mary Lou Vansant Hughes Collection","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76227,"collectionID":3397,"collectionType":"exhibition","description":"St. Pierre Toussaint was originally a\u202ffarmer in Haiti and did not start painting until 1972. He often sold his paintings by the roadside to tourists. His work celebrated joy and color in nature\u202fand natural forms. The\u202fcircular\u202fshape of this painting mirrors the organic\u202fmovement\u202fof the foliage.\u202fWhile many of Toussaint\u2019s paintings have shapes outlined in dark colors, the contrast of this painting comes from the vibrant red bouncing between shades of blueish green.","displayDescription":"St. Pierre Toussaint was originally a\u202ffarmer in Haiti and did not start painting until 1972. He often sold his paintings by the roadside to tourists. His work celebrated joy and color in nature\u202fand natural forms. The\u202fcircular\u202fshape of this painting mirrors the organic\u202fmovement\u202fof the foliage.\u202fWhile many of Toussaint\u2019s paintings have shapes outlined in dark colors, the contrast of this painting comes from the vibrant red bouncing between shades of blueish green."}],"dimensionalData":[{"dimID":99757,"dimensions":"Canvas\/Support 49 cm","description":"Object Diameter"},{"dimID":100480,"dimensions":"Canvas\/Support 19 1\/4 in","description":"Object Diameter"},{"dimID":100481,"dimensions":"Frame Diameter\/Round Frame 22 x 22 x 3\/4 in","description":"Frame Dimensions"}]},{"id":202,"objectID":43979,"title":"gold weight","accessionNumber":"2011.0167","geoAssoc":"Ghana","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"possibly brass","creditLine":"Gift of Professor Beverly Mack","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78619,"collectionID":3475,"collectionType":"exhibition","description":"Beginning in the ninth century, Akan-speaking communities of West Africa established a dynamic trade hub that connected populations across the African continent and beyond. To facilitate the exchange of commodities like gold, ivory, salt, and pepper, Akan artisans created brass scoops, scales, and weights like these to measure gold dust. Gold dust was the standardized unit of currency created from the abundant mineral deposits found along what European colonizers would later term the \u201cGold Coast.\u201d","displayDescription":"Beginning in the ninth century, Akan-speaking communities of West Africa established a dynamic trade hub that connected populations across the African continent and beyond. To facilitate the exchange of commodities like gold, ivory, salt, and pepper, Akan artisans created brass scoops, scales, and weights like these to measure gold dust. Gold dust was the standardized unit of currency created from the abundant mineral deposits found along what European colonizers would later term the \u201cGold Coast.\u201d"}],"dimensionalData":[{"dimID":100369,"dimensions":"5 x 2.5 cm","description":"Object Length\/Width"},{"dimID":100370,"dimensions":"1 15\/16 x 1 in","description":"Object Length\/Width"}]},{"id":205,"objectID":44237,"title":"Translated Vase","accessionNumber":"2012.0033","geoAssoc":"Seoul, South Korea","currLoc":"401, Loo Gallery, 401, W2","alias":"","objectDate":"2009","material":"ceramic shards, epoxy, twenty-four-carat gold leaf, twenty-four-carat gold powder","creditLine":"Museum purchase: Helen Foresman Spencer Art Acquisition Fund","exhibition":[{"id":3397,"priority":null},{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76327,"collectionID":3397,"collectionType":"exhibition","description":"Yeesookyung\u2019s artistic practice delves deep into Korean consciousness, uncovering fragments of historical memory that she transforms into new manifestations of contemporary life. The sculptures in her Translated Vessels series are composed of broken ceramic pieces from waste piles of Korean ceramicists that she reimagines as biomorphic \u201cmutant\u201d sculptures. Each organically shaped form emerges from a painstaking jigsaw-puzzle process in which Yee creates new connections between disparate shards.","displayDescription":"Yeesookyung\u2019s artistic practice delves deep into Korean consciousness, uncovering fragments of historical memory that she transforms into new manifestations of contemporary life. The sculptures in her Translated Vessels series are composed of broken ceramic pieces from waste piles of Korean ceramicists that she reimagines as biomorphic \u201cmutant\u201d sculptures. Each organically shaped form emerges from a painstaking jigsaw-puzzle process in which Yee creates new connections between disparate shards."},{"descriptionID":78513,"collectionID":3474,"collectionType":"exhibition","description":"Translated Vase emerges from discarded ceramic pieces. Yeesookyung gathers scraps from the waste piles of Korean ceramicists and reimagines them as biomorphic sculptures, filling the cracks with gold. In Korean, the words crack and gold are homonyms, both called geum. Yee stated: \u201cI wanted to add a sense of humor to my work by filling geums (cracks), which are considered as defects, with a valuable material, such as real geum (gold).\u201d","displayDescription":"Translated Vase emerges from discarded ceramic pieces. Yeesookyung gathers scraps from the waste piles of Korean ceramicists and reimagines them as biomorphic sculptures, filling the cracks with gold. In Korean, the words crack and gold are homonyms, both called geum. Yee stated: \u201cI wanted to add a sense of humor to my work by filling geums (cracks), which are considered as defects, with a valuable material, such as real geum (gold).\u201d"}],"dimensionalData":[{"dimID":101457,"dimensions":"170 x 80 x 85 cm","description":"Object Height\/Width\/Depth"},{"dimID":101458,"dimensions":"66 7\/8 x 31 1\/2 x 33 7\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":206,"objectID":44350,"title":"\u8fe6\u8afe\u8fe6\u4f10\u8e49 Seated Nahan Ganakgabeolcha (Sanskrit: Kanakavatsa)","accessionNumber":"2012.0092","geoAssoc":"Korea","currLoc":"401, Loo Gallery, 401, Cabinet C3","alias":"","objectDate":"late 1600s\u2013early 1700s, Joseon dynasty (1392\u20131910)","material":"wood, polychromy","creditLine":"Museum purchase: Helen Foresman Spencer Art Acquisition Fund","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76306,"collectionID":3397,"collectionType":"exhibition","description":"This sculpture depicts one of the original disciples of the historic Buddha who are called nahan in Korean. Nahan were holy men of Buddhism who attained freedom from ignorance and suffering. This nahan is dressed in tenth century\u2013style monk robes known as kasa, and the delicately painted patterns on his clothes date to the early 16th century. Pages from sacred texts that were placed inside a small cavity in the sculpture\u2019s head are still intact.  \r\n\r\nOriginally, this nahan would have been part of a large sculptural assemblage most likely consisting of 16 nahan. The number two \u4e8c carved on the base of the sculpture indicates that this sculpture depicts the nahan known as Ganakgabeolcha, called Kanakavatsa in Sanskrit. Kanakavatsa is often referred to as the \u201chappy arhat,\u201d demonstrated by his smiling face.","displayDescription":"This sculpture depicts one of the original disciples of the historic Buddha who are called nahan in Korean. Nahan were holy men of Buddhism who attained freedom from ignorance and suffering. This nahan is dressed in tenth century\u2013style monk robes known as kasa, and the delicately painted patterns on his clothes date to the early 16th century. Pages from sacred texts that were placed inside a small cavity in the sculpture\u2019s head are still intact.  \r\n\r\nOriginally, this nahan would have been part of a large sculptural assemblage most likely consisting of 16 nahan. The number two \u4e8c carved on the base of the sculpture indicates that this sculpture depicts the nahan known as Ganakgabeolcha, called Kanakavatsa in Sanskrit. Kanakavatsa is often referred to as the \u201chappy arhat,\u201d demonstrated by his smiling face."}],"dimensionalData":[{"dimID":102684,"dimensions":"52.07 x 32.7 x 24.13 cm","description":"Object Height\/Width\/Depth"},{"dimID":105492,"dimensions":"20 1\/2 x 12 7\/8 x 9 1\/2 in","description":"Object Height\/Width\/Depth"},{"dimID":105493,"dimensions":"left hand 17.78 cm","description":"Object Length"},{"dimID":105494,"dimensions":"left hand 7 in","description":"Object Length"},{"dimID":105495,"dimensions":"right hand 17.14 cm","description":"Object Length"},{"dimID":105496,"dimensions":"right hand 6 3\/4 in","description":"Object Length"}]},{"id":208,"objectID":44743,"title":"Seated figure with white blouse","accessionNumber":"2012.0099","geoAssoc":"United States","currLoc":"317, Perkins Central Court, 317, E1","alias":"","objectDate":"1950\u20131969","material":"oil, canvas","creditLine":"Gift of Ginny and Dick DeVore","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76216,"collectionID":3397,"collectionType":"exhibition","description":"Kansas artist William Dickerson\u2019s body of work included western and Midwestern landscapes, still\u202flifes\u202fand portraits.\u202fHere he\u202fportrays actress and model Vera Miles. Though Miles is best known for her acting work alongside Alfred Hitchcock, she grew up in Pratt, Kansas, and was crowned Miss Kansas in 1948.\u202fInterestingly, Dickerson chose not to identify Miles when titling his painting.\u202fIn the portrait, Miles looks serious and composed, gazing at a point in the distance beyond the viewer.","displayDescription":"Kansas artist William Dickerson\u2019s body of work included western and Midwestern landscapes, still\u202flifes\u202fand portraits.\u202fHere he\u202fportrays actress and model Vera Miles. Though Miles is best known for her acting work alongside Alfred Hitchcock, she grew up in Pratt, Kansas, and was crowned Miss Kansas in 1948.\u202fInterestingly, Dickerson chose not to identify Miles when titling his painting.\u202fIn the portrait, Miles looks serious and composed, gazing at a point in the distance beyond the viewer."}],"dimensionalData":[{"dimID":105469,"dimensions":"37 1\/2 x 27 1\/2 x 1 1\/4 in","description":"Frame Dimensions"}]},{"id":209,"objectID":44809,"title":"Shrine to Amitayus (Buddha of Limitless Life)","accessionNumber":"T2012.156","geoAssoc":"Tibet","currLoc":"401, Loo Gallery, 401, Cabinet A3","alias":"","objectDate":"1800s","material":"gold, turquoise, lapis lazuli, coral, emerald, garnet, semiprecious stones, glass","creditLine":"Loan from Lin Stanionis","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[]},{"id":211,"objectID":45556,"title":"Maharthraysithu medal awarded to U Kya Bu (1898-1980)","accessionNumber":"2013.0019.a","geoAssoc":"Burma (present-day Myanmar)","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 4","alias":"","objectDate":"1952","material":"gold, enamel","creditLine":"Gift of Nang Mo Lao and James Rives in memory of U Kya Bu and Daw Khin Ma Gyi","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[]},{"id":212,"objectID":45894,"title":"Le ph\u00e9nom\u00e8ne cheque (The Phenomenon of Street Children)","accessionNumber":"2013.0056","geoAssoc":"Democratic Republic of the Congo","currLoc":"317, Perkins Central Court, 317, N3","alias":"","objectDate":"2013","material":"acrylic, canvas","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76253,"collectionID":3397,"collectionType":"exhibition","description":"These three paintings offer distinct perspectives on how built environments shape and reflect our lives. Walter Gay\u2019s plush interior of an English country house painted in bright pastels is in stark contrast with Joseph Friebert\u2019s gritty street scene rendered using a dark, earthy palette. While Gay was a wealthy expatriate living in Paris, Friebert grew up in Milwaukee in a Jewish working-class family and was profoundly influenced by the Socialist ideas of his father, a tailor and a union organizer.  \r\n\r\n \r\n\r\nFriebert\u2019s Milwaukee street is empty and dark compared to the colorful Kinshasha street scene painted by Sam Illus. As with other arte populaire or \u201cpopular art\u201d works, Illus captures the everyday hardships of poverty and disparities of life on the streets with penetrating honesty.","displayDescription":"These three paintings offer distinct perspectives on how built environments shape and reflect our lives. Walter Gay\u2019s plush interior of an English country house painted in bright pastels is in stark contrast with Joseph Friebert\u2019s gritty street scene rendered using a dark, earthy palette. While Gay was a wealthy expatriate living in Paris, Friebert grew up in Milwaukee in a Jewish working-class family and was profoundly influenced by the Socialist ideas of his father, a tailor and a union organizer.  \r\n\r\n \r\n\r\nFriebert\u2019s Milwaukee street is empty and dark compared to the colorful Kinshasha street scene painted by Sam Illus. As with other arte populaire or \u201cpopular art\u201d works, Illus captures the everyday hardships of poverty and disparities of life on the streets with penetrating honesty."}],"dimensionalData":[{"dimID":113013,"dimensions":"34 1\/2 x 46 1\/4 in","description":"Image Dimensions Height\/Width"},{"dimID":110896,"dimensions":"87.63 x 117.47 cm","description":"Image Dimensions Height\/Width"}]},{"id":213,"objectID":45896,"title":"Cahiers des charge (Agenda of Action)","accessionNumber":"2013.0058","geoAssoc":"Democratic Republic of the Congo","currLoc":"317, Perkins Central Court, 317, E1","alias":"","objectDate":"2013","material":"paint, canvas","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76335,"collectionID":3397,"collectionType":"exhibition","description":"Sapin Makengele is a self-taught painter of art populaire, or popular art, which depicts historic and current experiences of the Congolese people. This art is characterized by figurative and narrative styles executed on whatever fabric the artist can afford and in bright colors, reflecting the influences of advertising and sign painting. Makengele often sets up his canvas amidst the bustling streets of Kinshasa, the capital city of the Democratic Republic of the Congo, creating colorful depictions that comment on social and political life. In this work, former U.S. President Barack Obama serves as a connection between Africa and the rest of the world.","displayDescription":"Sapin Makengele is a self-taught painter of art populaire, or popular art, which depicts historic and current experiences of the Congolese people. This art is characterized by figurative and narrative styles executed on whatever fabric the artist can afford and in bright colors, reflecting the influences of advertising and sign painting. Makengele often sets up his canvas amidst the bustling streets of Kinshasa, the capital city of the Democratic Republic of the Congo, creating colorful depictions that comment on social and political life. In this work, former U.S. President Barack Obama serves as a connection between Africa and the rest of the world."}],"dimensionalData":[{"dimID":110898,"dimensions":"96.52 x 113.66 cm","description":"Image Dimensions Height\/Width"},{"dimID":113011,"dimensions":"38 x 44 3\/4 in","description":"Image Dimensions Height\/Width"}]},{"id":214,"objectID":45899,"title":"L\u2019Hypocrisie (Hypocrisy)","accessionNumber":"2013.0061","geoAssoc":"Democratic Republic of the Congo","currLoc":"317, Perkins Central Court, 317, W1","alias":"","objectDate":"2012","material":"paint, canvas","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76212,"collectionID":3397,"collectionType":"exhibition","description":"In this painting artist Kelly-N presents a commentary on the sexist contradictions that women in the Democratic Republic of the Congo must endure to lead \u201crespectable\u201d lives. The artist\u202fdraws\u202ffocus to the center of the figure, who is split vertically to expose the two lives she leads to support herself. On the left, a woman in a domestic dress prepares food in a clean home with tidy curtains. The scene on the right displays the same woman in a loud,\u202fsexual atmosphere as disco lights cascade\u202fonto the stage where she stands in a see-through dress. The money she holds suggests her need to perform and\u202fprovide. The painting\u2019s title,\u202fL\u2019Hypocrisie (Hypocrisy),\u202fis displayed on the nightlife side of the work, suggests the artist\u2019s opinion of\u202fthe situation.","displayDescription":"In this painting artist Kelly-N presents a commentary on the sexist contradictions that women in the Democratic Republic of the Congo must endure to lead \u201crespectable\u201d lives. The artist\u202fdraws\u202ffocus to the center of the figure, who is split vertically to expose the two lives she leads to support herself. On the left, a woman in a domestic dress prepares food in a clean home with tidy curtains. The scene on the right displays the same woman in a loud,\u202fsexual atmosphere as disco lights cascade\u202fonto the stage where she stands in a see-through dress. The money she holds suggests her need to perform and\u202fprovide. The painting\u2019s title,\u202fL\u2019Hypocrisie (Hypocrisy),\u202fis displayed on the nightlife side of the work, suggests the artist\u2019s opinion of\u202fthe situation."}],"dimensionalData":[{"dimID":112973,"dimensions":"14 1\/4 x 18 1\/4 in","description":"Image Dimensions Height\/Width"},{"dimID":110901,"dimensions":"36.19 x 46.35 cm","description":"Image Dimensions Height\/Width"}]},{"id":215,"objectID":45901,"title":"L\u2019ambiance nocturne de Kinshasa (Nightlife of Kinshasa)","accessionNumber":"2013.0063","geoAssoc":"Kinshasa, Democratic Republic of the Congo","currLoc":"317, Perkins Central Court, 317, W1","alias":"","objectDate":"2013","material":"paint, canvas","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76218,"collectionID":3397,"collectionType":"exhibition","description":"When Landry was growing up in the 1980s, Kinshasa was a fast-growing city marked by political upheaval and notable disparities in wealth. However, Kinshasa was also distinguished by its vibrant nightlife known as \u201cLa Sape,\u201d which celebrated fashion and the pulsating electronic vibes of pop music and hip hop. La Sape is an abbreviation based on the phrase\u202f\u201cSoci\u00e9t\u00e9 des Ambianceurs et des Personnes \u00c9l\u00e9gantes\u201d\u202for \"Society of Ambiance-Makers and Elegant People.\u201d It also reflects the French slang\u202fsape, meaning clothes, or\u202fsap\u00e9, meaning dressed up. The dancers\u2019 movements, rhythmic clothing patterns, and vibrant colors capture the exuberance of a night on the town.","displayDescription":"When Landry was growing up in the 1980s, Kinshasa was a fast-growing city marked by political upheaval and notable disparities in wealth. However, Kinshasa was also distinguished by its vibrant nightlife known as \u201cLa Sape,\u201d which celebrated fashion and the pulsating electronic vibes of pop music and hip hop. La Sape is an abbreviation based on the phrase\u202f\u201cSoci\u00e9t\u00e9 des Ambianceurs et des Personnes \u00c9l\u00e9gantes\u201d\u202for \"Society of Ambiance-Makers and Elegant People.\u201d It also reflects the French slang\u202fsape, meaning clothes, or\u202fsap\u00e9, meaning dressed up. The dancers\u2019 movements, rhythmic clothing patterns, and vibrant colors capture the exuberance of a night on the town."}],"dimensionalData":[{"dimID":112971,"dimensions":"33 1\/2 x 44 1\/2 in","description":"Image Dimensions Height\/Width"},{"dimID":110903,"dimensions":"85.09 x 113.03 cm","description":"Image Dimensions Height\/Width"}]},{"id":216,"objectID":46152,"title":"hair necklace","accessionNumber":"H2013.034.01","geoAssoc":"Stockholm, Sweden","currLoc":"401, Loo Gallery, 401, Cabinet Drawer 2","alias":"","objectDate":"1834","material":"4-color hair, eighteen-carat gold","creditLine":null,"exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[]},{"id":217,"objectID":46625,"title":"ANATOMY OF LA MENTIRA. Red Noses. (Lies)","accessionNumber":"2013.0222","geoAssoc":null,"currLoc":"317, Perkins Central Court, 317, E1","alias":"","objectDate":"2004","material":"charcoal, acrylic, canvas","creditLine":"Gift of Joyce and Don Omer","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76240,"collectionID":3397,"collectionType":"exhibition","description":"In 1985, at the age of 19, Victor Cartagena left his native El Salvador for San Francisco, fleeing the bloody civil war that had erupted in 1980. Cartagena\u2019s early work from the 1990s drew on the pain, suffering, and separation from his family, but he soon shifted his attention to local social issues such as the plight of refugees and immigrants, as well as issues of homelessness and gang violence in the Bay Area. Working in a variety of mediums, Cartagena\u2019s artwork often utilizes appropriated images and concepts to deliver a socially charged message. In this work, titled \u201canatomy of a lie,\u201d a colorless, bald head is painted with a bold red triangle covering its nose, using the popular image of Pinocchio to comment on the hypocrisy of lies that plagues society.","displayDescription":"In 1985, at the age of 19, Victor Cartagena left his native El Salvador for San Francisco, fleeing the bloody civil war that had erupted in 1980. Cartagena\u2019s early work from the 1990s drew on the pain, suffering, and separation from his family, but he soon shifted his attention to local social issues such as the plight of refugees and immigrants, as well as issues of homelessness and gang violence in the Bay Area. Working in a variety of mediums, Cartagena\u2019s artwork often utilizes appropriated images and concepts to deliver a socially charged message. In this work, titled \u201canatomy of a lie,\u201d a colorless, bald head is painted with a bold red triangle covering its nose, using the popular image of Pinocchio to comment on the hypocrisy of lies that plagues society."}],"dimensionalData":[{"dimID":161694,"dimensions":"23 3\/4 x 19 1\/2 x 2 1\/2 in","description":"Frame Dimensions"}]},{"id":218,"objectID":46650,"title":"Cactus\/Ser","accessionNumber":"2013.0246","geoAssoc":null,"currLoc":"317, Perkins Central Court, 317, E1","alias":"","objectDate":"date unknown","material":"acrylic, canvas","creditLine":"Gift of Joyce and Don Omer","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76241,"collectionID":3397,"collectionType":"exhibition","description":"Doug Shelton often integrates anthropomorphized plants and objects into scenes of the American southwest. Cactus\/Ser\u202fshows a succulent plant walking onto a beach covered in shells and starfish. He may have taken inspiration from the\u202fstenocereus\u202feruca, or the creeping devil cactus. This rare cactus, native to the Mexican state of Baja California Sur, is known to \u201ccrawl\u201d across the desert as it grows new stems and loses old ones.","displayDescription":"Doug Shelton often integrates anthropomorphized plants and objects into scenes of the American southwest. Cactus\/Ser\u202fshows a succulent plant walking onto a beach covered in shells and starfish. He may have taken inspiration from the\u202fstenocereus\u202feruca, or the creeping devil cactus. This rare cactus, native to the Mexican state of Baja California Sur, is known to \u201ccrawl\u201d across the desert as it grows new stems and loses old ones."}],"dimensionalData":[{"dimID":161693,"dimensions":"20 3\/4 x 24 1\/2 x 1 1\/2 in","description":"Frame Dimensions"}]},{"id":219,"objectID":46656,"title":"Only the Obvious Flaws","accessionNumber":"2013.0252","geoAssoc":null,"currLoc":"317, Perkins Central Court, 317, S1","alias":"","objectDate":"date unknown","material":"charcoal, paint, canvas, metal","creditLine":"Gift of Joyce and Don Omer","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76242,"collectionID":3397,"collectionType":"exhibition","description":"William T. Wiley is known for combining multiple materials and techniques in his pieces, often including text containing puns and multiple meanings. This piece shows a shape like a stone that has rough faces and edges against a background of perfect lines forming a crystalline structure. The text in the lower left of this work, reading \u201col\u202fzenry\u202fjust don\u2019t get it\u201d and the figure to the right may allude to Wiley\u2019s interest in Zen Buddhism.","displayDescription":"William T. Wiley is known for combining multiple materials and techniques in his pieces, often including text containing puns and multiple meanings. This piece shows a shape like a stone that has rough faces and edges against a background of perfect lines forming a crystalline structure. The text in the lower left of this work, reading \u201col\u202fzenry\u202fjust don\u2019t get it\u201d and the figure to the right may allude to Wiley\u2019s interest in Zen Buddhism."}],"dimensionalData":[{"dimID":162791,"dimensions":"52 x 52 x 1 1\/4 in","description":"Frame Dimensions"}]},{"id":220,"objectID":46961,"title":"portrait bust of Jadwiga Dunin\u00f3w D\u0119bicka (1902\u20131977)","accessionNumber":"2014.0046","geoAssoc":null,"currLoc":"317, Perkins Central Court, 317, C5","alias":"","objectDate":"1937","material":"marble","creditLine":"Gift of the family of Andrew Peter Debicki (1934\u20132005)","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76220,"collectionID":3397,"collectionType":"exhibition","description":"Toma Rosandi\u0107 learned the skill of stone-cutting from his father at an early age while growing up in the scenic city of Split located on Croatia\u2019s Dalmatian coast. Together with his contemporary Ivan Me\u0161trovi\u0107 (1883\u20131962) he is considered one of most prominent Croatian (Yugoslavian) sculptors of the 20th century. This bust portrays Jadwiga D\u0119bicki (1902\u20131977), the wife of the Polish Ambassador to the Kingdom of Yugoslavia, who was living in Belgrade when this sculpture was made. Two stamps attached to the underside of the bust reveal that it was displayed in 1938 at the XXI Esposizione Biennale Internazionale d'Arte (21st Venice Biennale).","displayDescription":"Toma Rosandi\u0107 learned the skill of stone-cutting from his father at an early age while growing up in the scenic city of Split located on Croatia\u2019s Dalmatian coast. Together with his contemporary Ivan Me\u0161trovi\u0107 (1883\u20131962) he is considered one of most prominent Croatian (Yugoslavian) sculptors of the 20th century. This bust portrays Jadwiga D\u0119bicki (1902\u20131977), the wife of the Polish Ambassador to the Kingdom of Yugoslavia, who was living in Belgrade when this sculpture was made. Two stamps attached to the underside of the bust reveal that it was displayed in 1938 at the XXI Esposizione Biennale Internazionale d'Arte (21st Venice Biennale)."}],"dimensionalData":[{"dimID":113488,"dimensions":"46.5 x 20.2 x 21 cm","description":"Object Height\/Width\/Depth"},{"dimID":154555,"dimensions":"60 lbs","description":"Weight"},{"dimID":152555,"dimensions":"18 5\/16 x 7 15\/16 x 8 1\/4 in","description":"Object Height\/Width\/Depth"}]},{"id":221,"objectID":47041,"title":"\u9ad8\u672d kosatsu (edict board)","accessionNumber":"2014.0041","geoAssoc":"Japan","currLoc":"317, Perkins Central Court, 317, W1","alias":"","objectDate":"1682, Edo period (1600\u20131868)","material":"wood, ink, metal","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76239,"collectionID":3397,"collectionType":"exhibition","description":"This kosatsu, or edict board, forbids the practice of Christianity and represents the complicated history of the Catholic Church in Japan. In 1587, Toyotomi Hideyoshi, regarded as the \u201cgreat unifier\u201d of Japan, expelled all Jesuit missionaries working in the country. In 1597, 26 Japanese Christians were executed in Nagasaki, and are known today as the 26 Martyrs. Eventually, Japanese people suspected of practicing the outlawed religion were required to step on special images of Jesus and Mary known as fumi-e, which translates to \u201cstepping on pictures.\u201d Edict boards like this one were erected all over Japan and often appear in Japanese prints. The legal ban on Christianity in Japan was not lifted until 1873. This edict board was kept by a missionary family for several generations.","displayDescription":"This kosatsu, or edict board, forbids the practice of Christianity and represents the complicated history of the Catholic Church in Japan. In 1587, Toyotomi Hideyoshi, regarded as the \u201cgreat unifier\u201d of Japan, expelled all Jesuit missionaries working in the country. In 1597, 26 Japanese Christians were executed in Nagasaki, and are known today as the 26 Martyrs. Eventually, Japanese people suspected of practicing the outlawed religion were required to step on special images of Jesus and Mary known as fumi-e, which translates to \u201cstepping on pictures.\u201d Edict boards like this one were erected all over Japan and often appear in Japanese prints. The legal ban on Christianity in Japan was not lifted until 1873. This edict board was kept by a missionary family for several generations."}],"dimensionalData":[{"dimID":113616,"dimensions":"49 x 92.5 x 5 cm","description":"Object Height\/Width\/Depth"},{"dimID":113617,"dimensions":"19 5\/16 x 36 7\/16 x 1 15\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":223,"objectID":47350,"title":"container","accessionNumber":"1978.0246","geoAssoc":"present-day Mediterranean region","currLoc":"401, Loo Gallery, 401, Cabinet B2","alias":"","objectDate":"200\u2013300s, Roman Empire, 27\u2009BCE\u2013476\u2009CE","material":"blown glass","creditLine":"Source unknown","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[]},{"id":224,"objectID":47351,"title":"jar","accessionNumber":"2014.0063","geoAssoc":"present-day Mediterranean region","currLoc":"401, Loo Gallery, 401, Cabinet B2","alias":"","objectDate":"300\u2013400s, Roman Empire, 27\u2009BCE\u2013476\u2009CE","material":"blown glass","creditLine":"Source unknown","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[]},{"id":225,"objectID":47355,"title":"Birds","accessionNumber":"2014.0090","geoAssoc":"Burma (present-day Myanmar)","currLoc":"317, Perkins Central Court, 317, E1","alias":"","objectDate":"1972","material":"acrylic, canvas","creditLine":"Gift of Jack and Liz Kaufman","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76339,"collectionID":3397,"collectionType":"exhibition","description":"\u201cForms are necessary for the representation of truth. It has been our ultimate objective for the realization of deliverance to make use of forms in the artistic ways of life.\u201d \r\n\r\n \u2013 Paw Oo Thet \u201cPOT\u201d (1994) \r\n\r\nBorn in Mandalay, Paw Oo Thet lost his right hand at the age of 12 when a bomb left over from WWII exploded as he and his friends were playing with it. He learned to use his left hand with great skill and became a well-known watercolorist and a central figure in the Burmese modernist art movement of the 1960s and early 1970s. While he made a living as an illustrator and cartoonist for the People\u2019s Daily newspaper in Mandalay, in his art practice he created highly gestural works that sought to express contemporary Burmese identity. By merging Burmese forms with techniques appropriated from abroad, he created a hybrid approach to painting.","displayDescription":"\u201cForms are necessary for the representation of truth. It has been our ultimate objective for the realization of deliverance to make use of forms in the artistic ways of life.\u201d \r\n\r\n \u2013 Paw Oo Thet \u201cPOT\u201d (1994) \r\n\r\nBorn in Mandalay, Paw Oo Thet lost his right hand at the age of 12 when a bomb left over from WWII exploded as he and his friends were playing with it. He learned to use his left hand with great skill and became a well-known watercolorist and a central figure in the Burmese modernist art movement of the 1960s and early 1970s. While he made a living as an illustrator and cartoonist for the People\u2019s Daily newspaper in Mandalay, in his art practice he created highly gestural works that sought to express contemporary Burmese identity. By merging Burmese forms with techniques appropriated from abroad, he created a hybrid approach to painting."}],"dimensionalData":[{"dimID":114533,"dimensions":"22 x 34 in","description":"Canvas\/Support"}]},{"id":228,"objectID":52089,"title":"untitled (painting of Colombian Revolution)","accessionNumber":"2015.0143","geoAssoc":"Colombia","currLoc":"317, Perkins Central Court, 317, S1","alias":"","objectDate":"1962","material":"oil, canvas","creditLine":"Gift of George R. and Barbara F. Waggoner","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76219,"collectionID":3397,"collectionType":"exhibition","description":"Jorge Eli\u00e1s Triana was a prominent 20th-century Colombian painter who received most of his formal art training in Mexico. Consequently, his early work demonstrates strong similarities with that of Mexican muralists, as seen in this painting that celebrates the Colombian Revolution. By the mid 1970s, Triana dedicated all his time to teaching art in Colombia.","displayDescription":"Jorge Eli\u00e1s Triana was a prominent 20th-century Colombian painter who received most of his formal art training in Mexico. Consequently, his early work demonstrates strong similarities with that of Mexican muralists, as seen in this painting that celebrates the Colombian Revolution. By the mid 1970s, Triana dedicated all his time to teaching art in Colombia."}],"dimensionalData":[{"dimID":137360,"dimensions":"35 1\/2 x 42 1\/2 x 1 5\/8 in","description":"Frame Dimensions"}]},{"id":229,"objectID":52091,"title":"Santo figure of St. Francis of Assisi","accessionNumber":"2015.0144","geoAssoc":"New Mexico Territory (present-day New Mexico), United States","currLoc":"401, Loo Gallery, 401, Cabinet F1","alias":"","objectDate":"early 1800s","material":"wood, paint, carving","creditLine":"Gift of George R. and Barbara F. Waggoner","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76277,"collectionID":3397,"collectionType":"exhibition","description":"Although Spanish conquistadors passed through what is now New Mexico as early as 1527 searching for gold and silver, the first permanent Spanish settlements in the area were not established until 1598. As part of these settlements, Catholic priests arrived to establish churches and convert Indigenous populations to Catholicism. In addition to bringing religious traditions from Europe, these early missionaries also introduced the art of carving various saints and angels from wood or ivory. Local artisans quickly adapted this artform to incorporate their own traditions and religious practices. These carved figures of saints represent two examples of this living tradition.","displayDescription":"Although Spanish conquistadors passed through what is now New Mexico as early as 1527 searching for gold and silver, the first permanent Spanish settlements in the area were not established until 1598. As part of these settlements, Catholic priests arrived to establish churches and convert Indigenous populations to Catholicism. In addition to bringing religious traditions from Europe, these early missionaries also introduced the art of carving various saints and angels from wood or ivory. Local artisans quickly adapted this artform to incorporate their own traditions and religious practices. These carved figures of saints represent two examples of this living tradition."}],"dimensionalData":[{"dimID":137056,"dimensions":"45.5 x 18.5 x 15.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":137057,"dimensions":"17 15\/16 x 7 5\/16 x 6 1\/8 in","description":"Object Height\/Width\/Depth"}]},{"id":230,"objectID":52770,"title":"The Kansas Jayhawk","accessionNumber":"T2015.102","geoAssoc":null,"currLoc":"outdoors, in front of Adams Alumni Center","alias":"","objectDate":"1983","material":null,"creditLine":"Gift from John and Ginny Walsh Eullich","exhibition":[],"tour":[{"id":1857,"priority":null}],"assignment":[],"descriptionData":[{"descriptionID":25106,"collectionID":1857,"collectionType":"tour","description":"Tap the Web icon for a map and walking directions to this sculpture.","displayDescription":"Tap the Web icon for a map and walking directions to this sculpture."}],"dimensionalData":[]},{"id":231,"objectID":52771,"title":"Moses","accessionNumber":"T2015.103","geoAssoc":null,"currLoc":"outdoors, in front of Smith Hall","alias":"","objectDate":"1982","material":null,"creditLine":"Gift of Corinne Wooten Miller in memory of her husband, Charles E. Miller","exhibition":[],"tour":[{"id":1857,"priority":null}],"assignment":[],"descriptionData":[{"descriptionID":25107,"collectionID":1857,"collectionType":"tour","description":"Tap the Web icon for a map and walking directions to this sculpture.","displayDescription":"Tap the Web icon for a map and walking directions to this sculpture."}],"dimensionalData":[]},{"id":232,"objectID":52773,"title":"Prairie Formation","accessionNumber":"T2015.105","geoAssoc":"United States","currLoc":"outdoors, northeast of Blake Hall","alias":"","objectDate":"1981","material":null,"creditLine":"Donated by the Pi Deuteron chapter of Phi Gamma Delta","exhibition":[],"tour":[{"id":1857,"priority":null}],"assignment":[],"descriptionData":[{"descriptionID":25109,"collectionID":1857,"collectionType":"tour","description":"Tap the Web icon for a map and walking directions to this sculpture.","displayDescription":"Tap the Web icon for a map and walking directions to this sculpture."}],"dimensionalData":[]},{"id":233,"objectID":52774,"title":"The Pioneer","accessionNumber":"T2015.106","geoAssoc":"United States","currLoc":"outdoors, south of Fraser Hall","alias":"","objectDate":"purchased in 1904","material":null,"creditLine":"Gift of Simeon B. Bell in memory of his wife","exhibition":[],"tour":[{"id":1857,"priority":null}],"assignment":[],"descriptionData":[{"descriptionID":25110,"collectionID":1857,"collectionType":"tour","description":"Tap the Web icon for a map and walking directions to this sculpture.","displayDescription":"Tap the Web icon for a map and walking directions to this sculpture."}],"dimensionalData":[]},{"id":234,"objectID":52775,"title":"Jayhawk, Academic Jay","accessionNumber":"T2015.107","geoAssoc":"United States","currLoc":"outdoors, in front of Strong Hall","alias":"","objectDate":"cast 1958","material":null,"creditLine":"Gift of Class of 1956","exhibition":[],"tour":[{"id":1857,"priority":null}],"assignment":[],"descriptionData":[{"descriptionID":25111,"collectionID":1857,"collectionType":"tour","description":"Tap the Web icon for a map and walking directions to this sculpture.","displayDescription":"Tap the Web icon for a map and walking directions to this sculpture."}],"dimensionalData":[]},{"id":235,"objectID":52776,"title":"Korean Cranes Rising (Korean War Memorial)","accessionNumber":"T2015.108","geoAssoc":"United States","currLoc":"outdoors, along Memorial Drive","alias":"","objectDate":"2005","material":null,"creditLine":null,"exhibition":[],"tour":[{"id":1857,"priority":null}],"assignment":[],"descriptionData":[{"descriptionID":25112,"collectionID":1857,"collectionType":"tour","description":"Tap the Web icon for a map and walking directions to this sculpture.","displayDescription":"Tap the Web icon for a map and walking directions to this sculpture."}],"dimensionalData":[]},{"id":236,"objectID":52777,"title":"Statue of Phog Allen","accessionNumber":"T2015.109","geoAssoc":"United States","currLoc":"outdoors, east entrance of Allen Fieldhouse","alias":"","objectDate":"1997","material":null,"creditLine":null,"exhibition":[],"tour":[{"id":1857,"priority":null}],"assignment":[],"descriptionData":[{"descriptionID":25113,"collectionID":1857,"collectionType":"tour","description":"Tap the Web icon for a map and walking directions to this sculpture.","displayDescription":"Tap the Web icon for a map and walking directions to this sculpture."}],"dimensionalData":[]},{"id":244,"objectID":56758,"title":"Figure of a Demon","accessionNumber":"2017.0005","geoAssoc":"China","currLoc":"401, Loo Gallery, 401, Cabinet D3","alias":"","objectDate":"early 600s CE, Tang dynasty (618 CE\u2013907 CE)","material":"earthenware, pigment","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76281,"collectionID":3397,"collectionType":"exhibition","description":"This demonic figure likely belonged to a sculptural display made to guard a gravesite. The expert modeling of this earthenware figure, whose surface retains traces of red and white pigment, conveys the movement and power of its subject. In Tang-era funerary culture, clay sculptures depicting supernatural figures often served as protectors of the deceased. Common among such images were groupings of armored heavenly guardians (lok\u0101pala) posed with one foot trampling a demon. This figure\u2019s frown, bulging eyes, and defensive posture indicate the form of a wriggling demon being subdued by a lok\u0101pala. \r\n\r\nDemons like this one are derived from Hindu and Buddhist nature spirits called yak\u1e63a in Sanskrit. In Buddhist contexts, they often embody values like ignorance or attachment that a devotee must strive to overcome. However, in Tang culture the primary purpose of these figures was to protect the deceased from otherworldly threats.","displayDescription":"This demonic figure likely belonged to a sculptural display made to guard a gravesite. The expert modeling of this earthenware figure, whose surface retains traces of red and white pigment, conveys the movement and power of its subject. In Tang-era funerary culture, clay sculptures depicting supernatural figures often served as protectors of the deceased. Common among such images were groupings of armored heavenly guardians (lok\u0101pala) posed with one foot trampling a demon. This figure\u2019s frown, bulging eyes, and defensive posture indicate the form of a wriggling demon being subdued by a lok\u0101pala. \r\n\r\nDemons like this one are derived from Hindu and Buddhist nature spirits called yak\u1e63a in Sanskrit. In Buddhist contexts, they often embody values like ignorance or attachment that a devotee must strive to overcome. However, in Tang culture the primary purpose of these figures was to protect the deceased from otherworldly threats."}],"dimensionalData":[{"dimID":162785,"dimensions":"21 x 32 x 21 cm","description":"Object Height\/Width\/Depth"},{"dimID":162786,"dimensions":"8 1\/4 x 12 5\/8 x 8 1\/4 in","description":"Object Height\/Width\/Depth"}]},{"id":245,"objectID":57043,"title":"Mr. President, Mr. Lyndon Baines Johnson...","accessionNumber":"2017.0050","geoAssoc":"United States","currLoc":"317, Perkins Central Court, 317, E4","alias":"","objectDate":"early 1970s","material":"wood, paint","creditLine":"Gift of Kohler Foundation, Inc. in collaboration with the Kansas City Art Institute","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76238,"collectionID":3397,"collectionType":"exhibition","description":"Soon after Jesse Howard purchased 20 acres for a\u202fhome in Fulton, Missouri, he began using the space to express his religious, political, and philosophical convictions. He posted signs covered with neat, hand-lettered text. Unfortunately, Howard\u2019s neighbors were not pleased with his contributions to public debate. From the late\u202f1940s until the\u202f1970s,\u200b\u201cSorehead Hill,\u201d as Howard called his home, was frequently vandalized and he was repeatedly harassed for his unconventional means of exercising free thought and speech. In\u202f1952,\u202fsome of his neighbors went so far as to circulate a\u202fpetition demanding that he be committed to a\u202fmental institution. Despite this, Howard remained determined to express himself, and he was eventually rewarded with favorable attention from art scholars, collectors, dealers, and curators.","displayDescription":"Soon after Jesse Howard purchased 20 acres for a\u202fhome in Fulton, Missouri, he began using the space to express his religious, political, and philosophical convictions. He posted signs covered with neat, hand-lettered text. 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Despite this, Howard remained determined to express himself, and he was eventually rewarded with favorable attention from art scholars, collectors, dealers, and curators."}],"dimensionalData":[{"dimID":156867,"dimensions":"25 x 163.5 cm","description":"Object Height\/Width"},{"dimID":156868,"dimensions":"9 13\/16 x 64 3\/8 in","description":"Object Height\/Width"}]},{"id":252,"objectID":58813,"title":"Kaw","accessionNumber":"2018.0237","geoAssoc":"Oklahoma, United States","currLoc":"outdoors, in front of Spencer Museum of Art","alias":"","objectDate":"2018","material":"metal","creditLine":"Museum purchase: Peter T. Bohan Art Acquisition Fund","exhibition":[],"tour":[{"id":1857,"priority":null}],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":156219,"dimensions":"approximately 18 x 36 in","description":"Object Height\/Width"}]},{"id":267,"objectID":61914,"title":"Thinking Frog","accessionNumber":"2021.0061","geoAssoc":"United States","currLoc":"401, Loo Gallery, 401, Cabinet G2","alias":"","objectDate":"1986","material":"bronze, casting","creditLine":"Gift of Sam and Connie Perkins Collection","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":164748,"dimensions":"5 11\/16 x 3 9\/16 x 4 15\/16 in","description":"Object Height\/Width\/Depth"},{"dimID":163587,"dimensions":"14.5 x 9 x 12.5 cm","description":"Object Height\/Width\/Depth"}]},{"id":268,"objectID":62361,"title":"\u81ea\u5728\u7f6e\u7269 jizai okimono (articulated 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Smiling Frog","accessionNumber":"2021.0164","geoAssoc":"United States","currLoc":"401, Loo Gallery, 401, Cabinet G1","alias":"","objectDate":"1982","material":"porcelain","creditLine":"Gift of Sam and Connie Perkins Collection","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":168293,"dimensions":"34.5 x 17 x 18 cm","description":"Object Height\/Width\/Depth"},{"dimID":168294,"dimensions":"13 9\/16 x 6 11\/16 x 7 1\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":272,"objectID":62372,"title":"Banana","accessionNumber":"2021.0167","geoAssoc":"United States","currLoc":"401, Loo Gallery, 401, Cabinet G3","alias":"","objectDate":"1994","material":"porcelain, glaze","creditLine":"Gift of Sam and Connie Perkins Collection","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":168295,"dimensions":"9 x 13 x 21 cm","description":"Object Height\/Width\/Depth"},{"dimID":168296,"dimensions":"3 9\/16 x 5 1\/8 x 8 1\/4 in","description":"Object Height\/Width\/Depth"}]},{"id":273,"objectID":62373,"title":"smiling flower","accessionNumber":"2021.0168","geoAssoc":"China","currLoc":"401, Loo Gallery, 401, Cabinet G3","alias":"","objectDate":"2006","material":"ceramic, glaze","creditLine":"Gift of Sam and Connie Perkins Collection","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":168213,"dimensions":"2.3 x 17.3 cm","description":"Object Height\/Diameter"},{"dimID":168214,"dimensions":"7\/8 x 6 13\/16 in","description":"Object 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Height\/Width\/Depth"}]},{"id":277,"objectID":62447,"title":"bursa bobo seashell","accessionNumber":"2021.0201","geoAssoc":"Italy","currLoc":"401, Loo Gallery, 401, Cabinet G5","alias":"","objectDate":"circa 1950s","material":"silver, shell","creditLine":"Gift of Sam and Connie Perkins Collection","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":168228,"dimensions":"5.5 x 14 x 8 cm","description":"Object Height\/Width\/Depth"},{"dimID":168229,"dimensions":"2 3\/16 x 5 1\/2 x 3 1\/8 in","description":"Object Height\/Width\/Depth"}]},{"id":278,"objectID":62459,"title":"Searching Man","accessionNumber":"2021.0214","geoAssoc":"United States","currLoc":"401, Loo Gallery, 401, Cabinet E2","alias":"","objectDate":"circa 1930","material":"bronze","creditLine":"Gift of Sam and Connie Perkins Collection","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[]},{"id":279,"objectID":62466,"title":"L' Autruche (The Ostrich)","accessionNumber":"2021.0220.a,b","geoAssoc":null,"currLoc":"401, Loo Gallery, 401, Cabinet H5","alias":"","objectDate":"1977","material":"bronze, casting, ostrich egg","creditLine":"Gift of Sam and Connie Perkins Collection","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":167561,"dimensions":"48.8 x 16.5 x 27.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":167846,"dimensions":"19 3\/16 x 6 1\/2 x 10 13\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":285,"objectID":62514,"title":"untitled (horse)","accessionNumber":"2021.0280","geoAssoc":"United States","currLoc":"317, Perkins Central Court, 317, N3","alias":"","objectDate":"1980","material":"aluminum, steel","creditLine":"Gift of Sam and Connie Perkins Collection","exhibition":[{"id":3397,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":167977,"dimensions":"57.5 x 23 x 78 cm","description":"Object Height\/Width\/Length"},{"dimID":167978,"dimensions":"22 5\/8 x 9 1\/16 x 30 11\/16 in","description":"Object Height\/Width\/Length"}]},{"id":287,"objectID":62632,"title":"wooden stand for conical bowl","accessionNumber":"2021.0162.RA01","geoAssoc":"China","currLoc":"401, Loo Gallery, 401, Cabinet B2","alias":"","objectDate":null,"material":"wood, carving","creditLine":"Gift of Sam and Connie Perkins Collection","exhibition":[{"id":3397,"priority":null},{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[]},{"id":292,"objectID":48,"title":"Nuns in the Certosa Cloister, overlooking a Moonlit Sea towards the Faraglioni, Capri","accessionNumber":"2002.0030","geoAssoc":"Germany","currLoc":"407, Kress Gallery, 407, W3","alias":"","objectDate":"circa 1823","material":"oil, canvas","creditLine":"Museum purchase: Funds from the Estate of Professor and Mrs. T. Anthony Burzle, and Helen Foresman Spencer Art Acquisition Fund","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78432,"collectionID":3473,"collectionType":"exhibition","description":"A cloister is a covered walkway in a convent or monastery. This particular cloister is on an island off the coast of Italy. Here the nuns lead lives of quiet contemplation. Above the archway a sign reads \u201cSILENZIO\u201d (silence). As three nuns walk the corridors they transition from the warm light of candles to the serene glow of the full moon. Take a moment for your own silent contemplation. Close your eyes and imagine the sound of the waves crashing on the rocks below.","displayDescription":"A cloister is a covered walkway in a convent or monastery. This particular cloister is on an island off the coast of Italy. Here the nuns lead lives of quiet contemplation. Above the archway a sign reads \u201cSILENZIO\u201d (silence). As three nuns walk the corridors they transition from the warm light of candles to the serene glow of the full moon. Take a moment for your own silent contemplation. Close your eyes and imagine the sound of the waves crashing on the rocks below."}],"dimensionalData":[{"dimID":20065,"dimensions":"28 3\/4 x 38 5\/8 in","description":"Canvas\/Support"},{"dimID":9353,"dimensions":"73 x 98 cm","description":"Canvas\/Support"},{"dimID":170382,"dimensions":"40 1\/2 x 50 3\/4 x 4 1\/2 in","description":"Frame Dimensions"}]},{"id":293,"objectID":2650,"title":"Roman coin of Alexander the Great","accessionNumber":"0000.2475","geoAssoc":"Italy","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"336\u2013223 BCE","material":null,"creditLine":"Source unknown","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":167568,"dimensions":"0.4 x 2.5 cm","description":"Object Height\/Diameter"},{"dimID":167569,"dimensions":"3\/16 x 1 in","description":"Object Height\/Diameter"}]},{"id":294,"objectID":3429,"title":"wine cup","accessionNumber":"1928.0407","geoAssoc":"Korea","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"1000s\u20131100s","material":"celadon glaze","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78653,"collectionID":3475,"collectionType":"exhibition","description":"Since the tenth century, Goryeo potters in Korea absorbed ceramic techniques from China and produced celadon vessels for the royal court. 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Chinese envoy Xu Jin (1091\u20131153) praised the quality of Goryeo celadon and their resemblance to famous wares in China, evidence of the cultural exchanges between the two countries."}],"dimensionalData":[{"dimID":48649,"dimensions":"2 1\/4 x 3 1\/8 in","description":"Object Height\/Diameter"},{"dimID":48650,"dimensions":"5.71 x 7.94 cm","description":"Object Height\/Diameter"}]},{"id":295,"objectID":3563,"title":"cup","accessionNumber":"1928.0627","geoAssoc":"Korea","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"1200s, Goryeo dynasty (918\u20131392)","material":"stoneware, celadon glaze","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78654,"collectionID":3475,"collectionType":"exhibition","description":"Since the tenth century, Goryeo potters in Korea absorbed ceramic techniques from China and produced celadon vessels for the royal court. 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Chinese envoy Xu Jin (1091\u20131153) praised the quality of Goryeo celadon and their resemblance to famous wares in China, evidence of the cultural exchanges between the two countries."}],"dimensionalData":[{"dimID":9893,"dimensions":"6.5 x 7.6 cm","description":"Object Height\/Diameter"},{"dimID":47346,"dimensions":"2 9\/16 x 3 in","description":"Object Height\/Diameter"}]},{"id":296,"objectID":3568,"title":"melon-shaped ewer","accessionNumber":"1928.0633.a,b","geoAssoc":"Korea","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"1000s\u20131100s, Goryeo dynasty (918\u20131392)","material":"stoneware, celadon glaze","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78655,"collectionID":3475,"collectionType":"exhibition","description":"Since the tenth century, Goryeo potters in Korea absorbed ceramic techniques from China and produced celadon vessels for the royal court. 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Chinese envoy Xu Jin (1091\u20131153) praised the quality of Goryeo celadon and their resemblance to famous wares in China, evidence of the cultural exchanges between the two countries."}],"dimensionalData":[{"dimID":168902,"dimensions":"19.3 x 19 x 14.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":168907,"dimensions":"7 5\/8 x 7 1\/2 x 5 11\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":297,"objectID":3894,"title":"\u201cCleopatra\u2019s Needle\u201d salt shaker","accessionNumber":"1928.1174","geoAssoc":"England, United Kingdom","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"probably after 1877","material":"pewter","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78656,"collectionID":3475,"collectionType":"exhibition","description":"Black pepper is native to southwestern India and has long been the world\u2019s most traded spice. 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The high prices prompted the Portuguese to seek a sea route to India ushering in the so-called \u201cAge of Discovery\u201d and European colonization on a global scale."}],"dimensionalData":[{"dimID":51857,"dimensions":"10.2 x 4.3 cm","description":"Object Height\/Width"},{"dimID":51858,"dimensions":"4 x 1 11\/16 in","description":"Object Height\/Width"}]},{"id":298,"objectID":4083,"title":"equestrian warrior roof finial","accessionNumber":"1928.1467.a","geoAssoc":"China","currLoc":"401, Loo Gallery, 401, E1","alias":"","objectDate":"1600s, Ming dynasty (1368\u20131644)","material":"stoneware, glaze","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78504,"collectionID":3474,"collectionType":"exhibition","description":"Originally created to adorn the eaves of an important building, this roof tile of an armed warrior mounted on a horse is part of a venerable tradition of apotropaic, or protective, figures in Chinese culture. 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The teapot mimics the gourd-shaped ewers prevalent in the Song dynasty (960-1279). The double gourd shape of the vessel symbolized longevity and good fortune. The refined dark purple clay embodies understated elegance with a strong interest in antiquity appreciated by Qing collectors and connoisseurs.","displayDescription":"Made of zisha clay, literally \"purple sand,\" Yixing stoneware was famous for retaining heat and holding the flavor of the tea. The teapot mimics the gourd-shaped ewers prevalent in the Song dynasty (960-1279). The double gourd shape of the vessel symbolized longevity and good fortune. The refined dark purple clay embodies understated elegance with a strong interest in antiquity appreciated by Qing collectors and connoisseurs."}],"dimensionalData":[{"dimID":48886,"dimensions":"15 x 16 x 9.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":48887,"dimensions":"5 7\/8 x 6 5\/16 x 3 3\/4 in","description":"Object Height\/Width\/Depth"}]},{"id":303,"objectID":4158,"title":"\u8336\u7897 chawan (tea bowl)","accessionNumber":"1928.1562","geoAssoc":"Japan","currLoc":"406, Stewart Gallery, 406, E1","alias":"","objectDate":"Meiji period (1868\u20131912)","material":"Karatsu stoneware, glaze","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":48892,"dimensions":"5.7 x 10.5 cm","description":"Object Height\/Diameter"},{"dimID":48893,"dimensions":"2 1\/4 x 4 1\/8 in","description":"Object Height\/Diameter"}]},{"id":304,"objectID":4206,"title":"chaire \u8336\u5165 (tea caddy)","accessionNumber":"1928.1621.02","geoAssoc":"Japan","currLoc":"406, Stewart Gallery, 406, E1","alias":"","objectDate":"late 1800s\u2013early 1900s, Meiji period (1868\u20131912) or Taisho period (1912\u20131926)","material":"clay, glaze","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":49979,"dimensions":"7.6 x 5.7 cm","description":"Object Height\/Diameter"},{"dimID":49980,"dimensions":"3 x 2 1\/4 in","description":"Object Height\/Diameter"}]},{"id":305,"objectID":4208,"title":"incense burner with lid","accessionNumber":"1928.1625.a,b","geoAssoc":"Japan","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"Meiji period (1868\u20131912)","material":"Satsuma ware, porcelain, glaze, enamel","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":49996,"dimensions":"8.9 x 9.9 cm","description":"Object Height\/Diameter"},{"dimID":49997,"dimensions":"3 1\/2 x 3 7\/8 in","description":"Object Height\/Diameter"}]},{"id":306,"objectID":4299,"title":"teapot with lid","accessionNumber":"1928.1748.a,b","geoAssoc":"England, United Kingdom","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"circa 1770\u20131780","material":"creamware","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":50258,"dimensions":"12.8 x 20 x 12 cm","description":"Object Height\/Width\/Depth"},{"dimID":50259,"dimensions":"5 1\/16 x 7 7\/8 x 4 3\/4 in","description":"Object Height\/Width\/Depth"}]},{"id":307,"objectID":4537,"title":"puzzle jug","accessionNumber":"1928.2032","geoAssoc":"Staffordshire, England, United Kingdom","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"circa 1810","material":"silver lusterware, earthenware","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78666,"collectionID":3475,"collectionType":"exhibition","description":"To quench your thirst for a game, try drinking from a puzzle jug. These vexing vessels were a popular form of entertainment in the 18th and 19th centuries. Holes in the jug\u2019s neck make it difficult to drink without making a mess. The solution lies in the hidden channel running around the rim and down the handle. The drinker must cover the right combination of holes to create a vacuum and draw out the contents.","displayDescription":"To quench your thirst for a game, try drinking from a puzzle jug. These vexing vessels were a popular form of entertainment in the 18th and 19th centuries. Holes in the jug\u2019s neck make it difficult to drink without making a mess. The solution lies in the hidden channel running around the rim and down the handle. The drinker must cover the right combination of holes to create a vacuum and draw out the contents."}],"dimensionalData":[{"dimID":50826,"dimensions":"24 x 15.5 x 11.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":50827,"dimensions":"9 7\/16 x 6 1\/8 x 4 1\/2 in","description":"Object Height\/Width\/Depth"}]},{"id":308,"objectID":4540,"title":"salt dish","accessionNumber":"1928.2035","geoAssoc":"England, United Kingdom or United States","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"circa 1855\u20131890","material":"silvered blown glass","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78667,"collectionID":3475,"collectionType":"exhibition","description":"Salt is vital to survival and the scarcity of naturally occurring salt deposits led to it becoming a popular trade commodity. Some of the earliest and most prominent salt trade routes traversed inhospitable landscapes from Morocco, through the Sahara Desert, and on to Timbuktu. Others linked Egypt, the Aegean, and the Mediterranean with the Libyan Desert. Salt was so valuable it was used as currency, traded ounce for ounce with gold in parts of Africa.","displayDescription":"Salt is vital to survival and the scarcity of naturally occurring salt deposits led to it becoming a popular trade commodity. Some of the earliest and most prominent salt trade routes traversed inhospitable landscapes from Morocco, through the Sahara Desert, and on to Timbuktu. Others linked Egypt, the Aegean, and the Mediterranean with the Libyan Desert. Salt was so valuable it was used as currency, traded ounce for ounce with gold in parts of Africa."}],"dimensionalData":[{"dimID":50832,"dimensions":"6.7 x 7.6 cm","description":"Object Height\/Diameter"},{"dimID":50833,"dimensions":"2 5\/8 x 3 in","description":"Object Height\/Diameter"}]},{"id":309,"objectID":4630,"title":"mug","accessionNumber":"1928.2132","geoAssoc":"England, United Kingdom","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"1800s","material":"pink lusterware, earthenware","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":50988,"dimensions":"9.1 x 12.4 x 9.7 cm","description":"Object Height\/Width\/Diameter"},{"dimID":50989,"dimensions":"3 9\/16 x 4 7\/8 x 3 13\/16 in","description":"Object Height\/Width\/Diameter"}]},{"id":310,"objectID":4653,"title":"platter","accessionNumber":"1928.2155","geoAssoc":"Burslem, Staffordshire, England, United Kingdom","currLoc":"407, Kress Gallery, 407, E2","alias":"","objectDate":"1819\u20131846","material":"transferware, earthenware","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78668,"collectionID":3475,"collectionType":"exhibition","description":"Transferware is a method of decoration in which a print is transferred from a metal plate, to paper, to a ceramic piece. Like the Souvenir of Leavenworth Kansas plate located nearby, this platter is a part of the English transferware tradition. However, it depicts a more traditional location: Venice, Italy. As part of a set with several views of Venice, this platter could serve as a form of imaginary travel or as a reminder of a past trip.","displayDescription":"Transferware is a method of decoration in which a print is transferred from a metal plate, to paper, to a ceramic piece. Like the Souvenir of Leavenworth Kansas plate located nearby, this platter is a part of the English transferware tradition. However, it depicts a more traditional location: Venice, Italy. As part of a set with several views of Venice, this platter could serve as a form of imaginary travel or as a reminder of a past trip."}],"dimensionalData":[{"dimID":51015,"dimensions":"38.9 x 4.7 cm","description":"Object Diameter\/Depth"},{"dimID":154811,"dimensions":"15 5\/16 x 1 7\/8 in","description":"Object Diameter\/Depth"}]},{"id":311,"objectID":5220,"title":"Kashan lamp","accessionNumber":"1928.2821","geoAssoc":"Persia (present-day Iran)","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"1500s","material":"pottery","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":51484,"dimensions":"16.2 x 15 x 11 cm","description":"Object Height\/Width\/Depth"},{"dimID":51485,"dimensions":"6 3\/8 x 5 7\/8 x 4 5\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":312,"objectID":5233,"title":"ewer","accessionNumber":"1928.2835","geoAssoc":"Kashan, Persia (present-day Iran)","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"1100s\u20131200s","material":"soft paste porcelain, molding, lusterware","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":51494,"dimensions":"19 x 13 x 12 cm","description":"Object Height\/Width\/Depth"},{"dimID":51495,"dimensions":"7 1\/2 x 5 1\/8 x 4 3\/4 in","description":"Object Height\/Width\/Depth"}]},{"id":313,"objectID":5708,"title":"sugar bowl with lid","accessionNumber":"1928.3428.a,b","geoAssoc":"Staffordshire, England, United Kingdom","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"1920s","material":"porcelain, jasperware","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":52777,"dimensions":"10.2 x 13 cm","description":"Object Height\/Width"},{"dimID":52778,"dimensions":"4 x 5 1\/8 in","description":"Object Height\/Width"}]},{"id":314,"objectID":5736,"title":"pretzel shaped bottle","accessionNumber":"1928.3462","geoAssoc":"Bohemia (Present-day Czech Republic) or United States","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"circa 1900","material":"porcelain, frit","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78671,"collectionID":3475,"collectionType":"exhibition","description":"Produced in Bohemia (present-day Czech Republic), this pretzel-shaped flask was most likely made for export to the United States in the late 19th or early 20th century. During this time, novelty flasks became associated with American prohibition. Because of its highly vivid details, such as the delicately rendered grains of salt, people commonly used objects like this to drink alcohol inconspicuously.","displayDescription":"Produced in Bohemia (present-day Czech Republic), this pretzel-shaped flask was most likely made for export to the United States in the late 19th or early 20th century. During this time, novelty flasks became associated with American prohibition. Because of its highly vivid details, such as the delicately rendered grains of salt, people commonly used objects like this to drink alcohol inconspicuously."}],"dimensionalData":[{"dimID":53594,"dimensions":"3 x 14.2 x 9 cm","description":"Object Height\/Width\/Depth"},{"dimID":53595,"dimensions":"1 3\/16 x 5 9\/16 x 3 9\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":315,"objectID":6062,"title":"cuneiform tablet","accessionNumber":"1928.3877","geoAssoc":"Sumer (present-day Iraq)","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"Akkadian Empire (circa 2334\u20132154 BCE)","material":"pottery","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78672,"collectionID":3475,"collectionType":"exhibition","description":"This early form of \u201ctext messaging\u201d goes back 4,000 years. Cuneiform is the earliest known system of writing, recorded as combinations of wedge-shaped marks on wet clay tablets using a sharpened reed of stiff grass. Even emojis have an ancient counterpart in the form of logograms and pictographs, which developed alongside systems of writing. Cuneiform tablets first captured records related to land and agriculture, but evolved to document maps, literature, religious teachings, and more.","displayDescription":"This early form of \u201ctext messaging\u201d goes back 4,000 years. Cuneiform is the earliest known system of writing, recorded as combinations of wedge-shaped marks on wet clay tablets using a sharpened reed of stiff grass. Even emojis have an ancient counterpart in the form of logograms and pictographs, which developed alongside systems of writing. Cuneiform tablets first captured records related to land and agriculture, but evolved to document maps, literature, religious teachings, and more."}],"dimensionalData":[{"dimID":151930,"dimensions":"3.8 x 5.7 x 2 cm","description":"Object Height\/Width\/Depth"},{"dimID":151931,"dimensions":"1 1\/2 x 2 1\/4 x 13\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":316,"objectID":6070,"title":"cuneiform tablet","accessionNumber":"1928.3889","geoAssoc":"Sumer (present-day Iraq)","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"Akkadian Empire (circa 2334\u20132154 BCE)","material":"pottery","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":151932,"dimensions":"4 x 3.3 x 1.2 cm","description":"Object Height\/Width\/Depth"},{"dimID":151933,"dimensions":"1 9\/16 x 1 5\/16 x 1\/2 in","description":"Object Height\/Width\/Depth"}]},{"id":317,"objectID":6126,"title":"salt cellar with cover","accessionNumber":"1928.6041.a,b","geoAssoc":"Sandwich, Massachusetts, United States","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"circa 1835\u20131845","material":"pressed glass","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78674,"collectionID":3475,"collectionType":"exhibition","description":"Salt is vital to survival and the scarcity of naturally occurring salt deposits led to it becoming a popular trade commodity. Some of the earliest and most prominent salt trade routes traversed inhospitable landscapes from Morocco, through the Sahara Desert, and on to Timbuktu. Others linked Egypt, the Aegean, and the Mediterranean with the Libyan Desert. Salt was so valuable it was used as currency, traded ounce for ounce with gold in parts of Africa.","displayDescription":"Salt is vital to survival and the scarcity of naturally occurring salt deposits led to it becoming a popular trade commodity. Some of the earliest and most prominent salt trade routes traversed inhospitable landscapes from Morocco, through the Sahara Desert, and on to Timbuktu. Others linked Egypt, the Aegean, and the Mediterranean with the Libyan Desert. Salt was so valuable it was used as currency, traded ounce for ounce with gold in parts of Africa."}],"dimensionalData":[{"dimID":56447,"dimensions":"4.8 x 3 x 5 cm","description":"Object Height\/Width\/Length"},{"dimID":56448,"dimensions":"1 7\/8 x 1 1\/8 x 1 15\/16 in","description":"Object Height\/Width\/Length"}]},{"id":318,"objectID":6219,"title":"salt cellar","accessionNumber":"1928.6144","geoAssoc":"United States","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"circa 1870s","material":"pressed uranium glass","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78675,"collectionID":3475,"collectionType":"exhibition","description":"Salt is vital to survival and the scarcity of naturally occurring salt deposits led to it becoming a popular trade commodity. Some of the earliest and most prominent salt trade routes traversed inhospitable landscapes from Morocco, through the Sahara Desert, and on to Timbuktu. Others linked Egypt, the Aegean, and the Mediterranean with the Libyan Desert. Salt was so valuable it was used as currency, traded ounce for ounce with gold in parts of Africa.","displayDescription":"Salt is vital to survival and the scarcity of naturally occurring salt deposits led to it becoming a popular trade commodity. Some of the earliest and most prominent salt trade routes traversed inhospitable landscapes from Morocco, through the Sahara Desert, and on to Timbuktu. Others linked Egypt, the Aegean, and the Mediterranean with the Libyan Desert. Salt was so valuable it was used as currency, traded ounce for ounce with gold in parts of Africa."}],"dimensionalData":[{"dimID":53946,"dimensions":"4.2 x 7.8 x 5 cm","description":"Object Height\/Width\/Depth"},{"dimID":53947,"dimensions":"1 5\/8 x 3 1\/16 x 1 15\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":319,"objectID":6247,"title":"salt cellar","accessionNumber":"1928.6173","geoAssoc":"United States or England, United Kingdom","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"1850s","material":"cut, pressed glass","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78676,"collectionID":3475,"collectionType":"exhibition","description":"Salt is vital to survival and the scarcity of naturally occurring salt deposits led to it becoming a popular trade commodity. Some of the earliest and most prominent salt trade routes traversed inhospitable landscapes from Morocco, through the Sahara Desert, and on to Timbuktu. Others linked Egypt, the Aegean, and the Mediterranean with the Libyan Desert. Salt was so valuable it was used as currency, traded ounce for ounce with gold in parts of Africa.","displayDescription":"Salt is vital to survival and the scarcity of naturally occurring salt deposits led to it becoming a popular trade commodity. Some of the earliest and most prominent salt trade routes traversed inhospitable landscapes from Morocco, through the Sahara Desert, and on to Timbuktu. Others linked Egypt, the Aegean, and the Mediterranean with the Libyan Desert. Salt was so valuable it was used as currency, traded ounce for ounce with gold in parts of Africa."}],"dimensionalData":[{"dimID":54114,"dimensions":"8 x 7.5 cm","description":"Object Height\/Diameter"},{"dimID":54115,"dimensions":"3 1\/8 x 2 15\/16 in","description":"Object Height\/Diameter"}]},{"id":320,"objectID":6301,"title":"sugar bowl with lid","accessionNumber":"1928.6229.a,b","geoAssoc":"United States","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"circa 1880","material":"flint glass","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78677,"collectionID":3475,"collectionType":"exhibition","description":"From the 1500s through the early 1800s, sugar was one of the most prized and lucrative European imports. It was also a significant driver of the transatlantic slave trade. Captured Africans were shipped to Caribbean Islands to harvest sugar on plantations, which would be processed and shipped to New England and elsewhere. These decorative bowls speak to growing appetites for sugar and prompt you to consider how sugar was obtained\u2014and at what cost?","displayDescription":"From the 1500s through the early 1800s, sugar was one of the most prized and lucrative European imports. It was also a significant driver of the transatlantic slave trade. Captured Africans were shipped to Caribbean Islands to harvest sugar on plantations, which would be processed and shipped to New England and elsewhere. These decorative bowls speak to growing appetites for sugar and prompt you to consider how sugar was obtained\u2014and at what cost?"}],"dimensionalData":[{"dimID":54282,"dimensions":"21.6 x 11.4 cm","description":"Object Height\/Diameter"},{"dimID":54283,"dimensions":"8 1\/2 x 4 1\/2 in","description":"Object Height\/Diameter"}]},{"id":321,"objectID":6306,"title":"vase with dragon appendage","accessionNumber":"1928.6235.a","geoAssoc":"Murano, Venice, Italy","currLoc":"407, Kress Gallery, 407, C1","alias":"","objectDate":"1875\u20131899","material":"blown glass, girasol","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78678,"collectionID":3475,"collectionType":"exhibition","description":"Glass pieces produced by the Venetian glassmakers at Salviati & C. were the perfect souvenirs for travelers in the late 19th and early 20th century. The delicate, glistening forms brought together centuries-old traditions and contemporary innovations that could be displayed in homes to demonstrate culture and taste.","displayDescription":"Glass pieces produced by the Venetian glassmakers at Salviati & C. were the perfect souvenirs for travelers in the late 19th and early 20th century. The delicate, glistening forms brought together centuries-old traditions and contemporary innovations that could be displayed in homes to demonstrate culture and taste."}],"dimensionalData":[{"dimID":54303,"dimensions":"21.5 x 16.5 x 9.8 cm","description":"Object Height\/Width\/Depth"},{"dimID":54304,"dimensions":"8 7\/16 x 6 1\/2 x 3 7\/8 in","description":"Object Height\/Width\/Depth"}]},{"id":322,"objectID":6443,"title":"vase","accessionNumber":"1928.6402","geoAssoc":"Austria","currLoc":"407, Kress Gallery, 407, C1","alias":"","objectDate":"1880s","material":"blown glass, cut glass","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78679,"collectionID":3475,"collectionType":"exhibition","description":"The curving white and gold decorations on this Bohemian glass vase are often described as arabesque, defined as \u201can ornamental design consisting of intertwined flowing lines, originally found in Arabic or Moorish decoration.\u201d Although this word is potentially considered neutral today, the popularity of arabesque decorations is tied to Orientalism, the stereotyped and colonially influenced representation of Eastern cultures by white Europeans.","displayDescription":"The curving white and gold decorations on this Bohemian glass vase are often described as arabesque, defined as \u201can ornamental design consisting of intertwined flowing lines, originally found in Arabic or Moorish decoration.\u201d Although this word is potentially considered neutral today, the popularity of arabesque decorations is tied to Orientalism, the stereotyped and colonially influenced representation of Eastern cultures by white Europeans."}],"dimensionalData":[{"dimID":54993,"dimensions":"34.4 x 11.5 cm","description":"Object Height\/Width"},{"dimID":54994,"dimensions":"13 1\/2 x 4 1\/2 in","description":"Object Height\/Width"}]},{"id":323,"objectID":6633,"title":"tile","accessionNumber":"1928.6620","geoAssoc":"Netherlands?","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"mid 1600s\u20131800s","material":"earthenware","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78642,"collectionID":3475,"collectionType":"exhibition","description":"Blue and white ceramics from the Netherlands, often called Delftware, were a desirable commodity, and ships serve as a visual reference to Dutch military and economic strength. Commonly associated with luxury goods like tulips and spices, Dutch ships also transported captured people from Africa who were forced into slavery.","displayDescription":"Blue and white ceramics from the Netherlands, often called Delftware, were a desirable commodity, and ships serve as a visual reference to Dutch military and economic strength. Commonly associated with luxury goods like tulips and spices, Dutch ships also transported captured people from Africa who were forced into slavery."}],"dimensionalData":[{"dimID":55776,"dimensions":"12.5 x 12.5 x 1.3 cm","description":"Object Length\/Width\/Depth"},{"dimID":55777,"dimensions":"4 15\/16 x 4 15\/16 x 1\/2 in","description":"Object Length\/Width\/Depth"}]},{"id":324,"objectID":6634,"title":"tile with a ship (likely a sloop)","accessionNumber":"1928.6621","geoAssoc":"Netherlands","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"1650\u20131700","material":"earthenware","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":55779,"dimensions":"12.6 x 12.6 x 1.6 cm","description":"Object Length\/Width\/Depth"},{"dimID":55780,"dimensions":"4 15\/16 x 4 15\/16 x 5\/8 in","description":"Object Length\/Width\/Depth"}]},{"id":325,"objectID":6639,"title":"chocolate pot and lid","accessionNumber":"1928.6626 and 1928.6627","geoAssoc":"Copenhagen, Denmark","currLoc":"407, Kress Gallery, 407, W2","alias":"","objectDate":"1700s","material":"porcelain","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78683,"collectionID":3475,"collectionType":"exhibition","description":"The unique shape of this chocolate pot is functional. The drink was originally made of a ground paste instead of today\u2019s melted chocolate, so the lid was designed with a small hole that allowed the server to use a stir stick to regularly froth the chocolate and keep it blended.","displayDescription":"The unique shape of this chocolate pot is functional. The drink was originally made of a ground paste instead of today\u2019s melted chocolate, so the lid was designed with a small hole that allowed the server to use a stir stick to regularly froth the chocolate and keep it blended."}],"dimensionalData":[{"dimID":56056,"dimensions":"6 3\/4 x 9 1\/16 x 5 11\/16 in","description":"Object Height\/Width\/Depth"},{"dimID":56055,"dimensions":"17.1 x 23 x 14.5 cm","description":"Object Height\/Width\/Depth"}]},{"id":326,"objectID":6668,"title":"sugar bowl with lid","accessionNumber":"1928.6659.a,b","geoAssoc":"England, United Kingdom","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"circa 1825","material":"earthenware","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78684,"collectionID":3475,"collectionType":"exhibition","description":"From the 1500s through the early 1800s, sugar was one of the most prized and lucrative European imports. It was also a significant driver of the transatlantic slave trade. Captured Africans were shipped to Caribbean Islands to harvest sugar on plantations, which would be processed and shipped to New England and elsewhere. These decorative bowls speak to growing appetites for sugar and prompt you to consider how sugar was obtained\u2014and at what cost?","displayDescription":"From the 1500s through the early 1800s, sugar was one of the most prized and lucrative European imports. It was also a significant driver of the transatlantic slave trade. Captured Africans were shipped to Caribbean Islands to harvest sugar on plantations, which would be processed and shipped to New England and elsewhere. These decorative bowls speak to growing appetites for sugar and prompt you to consider how sugar was obtained\u2014and at what cost?"}],"dimensionalData":[{"dimID":56277,"dimensions":"15.3 x 16.5 x 11 cm","description":"Object Height\/Width\/Depth"},{"dimID":56278,"dimensions":"6 x 6 1\/2 x 4 5\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":327,"objectID":6674,"title":"saucer","accessionNumber":"1928.6666.a","geoAssoc":"Copenhagen, Denmark","currLoc":"407, Kress Gallery, 407, W2","alias":"","objectDate":"1700s","material":"ceramic","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":56305,"dimensions":"2.6 x 12.8 cm","description":"Object Height\/Diameter"},{"dimID":56306,"dimensions":"1 x 5 1\/16 in","description":"Object Height\/Diameter"}]},{"id":328,"objectID":6676,"title":"creamer","accessionNumber":"1928.6668","geoAssoc":"Copenhagen, Denmark","currLoc":"407, Kress Gallery, 407, W2","alias":"","objectDate":"1700s","material":"ceramic","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":56316,"dimensions":"9 x 8 x 6.3 cm","description":"Object Height\/Width\/Depth"},{"dimID":56317,"dimensions":"3 9\/16 x 3 1\/8 x 2 1\/2 in","description":"Object Height\/Width\/Depth"}]},{"id":329,"objectID":6760,"title":"salt or pepper shaker","accessionNumber":"1928.6774","geoAssoc":"Staffordshire, England, United Kingdom","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"1830\u20131860","material":"transferware, earthenware","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78687,"collectionID":3475,"collectionType":"exhibition","description":"Salt is vital to survival and the scarcity of naturally occurring salt deposits led to it becoming a popular trade commodity. Some of the earliest and most prominent salt trade routes traversed inhospitable landscapes from Morocco, through the Sahara Desert, and on to Timbuktu. Others linked Egypt, the Aegean, and the Mediterranean with the Libyan Desert. Salt was so valuable it was used as currency, traded ounce for ounce with gold in parts of Africa.","displayDescription":"Salt is vital to survival and the scarcity of naturally occurring salt deposits led to it becoming a popular trade commodity. Some of the earliest and most prominent salt trade routes traversed inhospitable landscapes from Morocco, through the Sahara Desert, and on to Timbuktu. Others linked Egypt, the Aegean, and the Mediterranean with the Libyan Desert. Salt was so valuable it was used as currency, traded ounce for ounce with gold in parts of Africa."}],"dimensionalData":[{"dimID":55849,"dimensions":"10.3 x 5.4 cm","description":"Object Height\/Width"},{"dimID":55850,"dimensions":"4 1\/16 x 2 1\/8 in","description":"Object Height\/Width"}]},{"id":330,"objectID":9095,"title":"David Taking the Ark of the Covenant to Jerusalem","accessionNumber":"1950.0067","geoAssoc":"Italy","currLoc":"401, Loo Gallery, 401, E1","alias":"","objectDate":"circa 1692\u20131702","material":"oil, canvas","creditLine":"Museum purchase","exhibition":[{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78490,"collectionID":3474,"collectionType":"exhibition","description":"Neapolitan painter Luca Giordano depicts a scene of celebration as the Ark of the Covenant, a holy relic believed by Christians to hold the Ten Commandments and other sacred objects, returns to Jerusalem. The ark had been captured during battle twenty years earlier. Priests swing censers of incense as onlookers blow horns and King David, visible just left of center, dances in jubilation, all captured in the vibrant brushstrokes of this preparatory oil sketch.","displayDescription":"Neapolitan painter Luca Giordano depicts a scene of celebration as the Ark of the Covenant, a holy relic believed by Christians to hold the Ten Commandments and other sacred objects, returns to Jerusalem. The ark had been captured during battle twenty years earlier. Priests swing censers of incense as onlookers blow horns and King David, visible just left of center, dances in jubilation, all captured in the vibrant brushstrokes of this preparatory oil sketch."}],"dimensionalData":[{"dimID":89679,"dimensions":"31 x 26 1\/8 x 1 3\/4 in","description":"Frame Dimensions"},{"dimID":49877,"dimensions":"76.2 x 64.6 cm","description":"Canvas\/Support"},{"dimID":49878,"dimensions":"30 x 25 3\/8 in","description":"Canvas\/Support"}]},{"id":331,"objectID":9109,"title":"Saint Cosmas","accessionNumber":"1950.0090","geoAssoc":"Electorate of Bavaria (present-day Germany)","currLoc":"407, Kress Gallery, 407, E4","alias":"","objectDate":"circa 1750\u20131765","material":"linden wood, polychromy, gilding","creditLine":"Museum purchase","exhibition":[{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78493,"collectionID":3474,"collectionType":"exhibition","description":"These figures of Saints Cosmas and Damian likely flanked the central part of a South-German altarpiece. Cosmas and Damian were physicians and were later venerated by those seeking protection from the plague and adopted as patron saints for members of medical professions.\r\nWhich church the sculptures came from is unknown, but in the early 1900s, an American family acquired the sculptures from a German art dealer.","displayDescription":"These figures of Saints Cosmas and Damian likely flanked the central part of a South-German altarpiece. Cosmas and Damian were physicians and were later venerated by those seeking protection from the plague and adopted as patron saints for members of medical professions.\r\nWhich church the sculptures came from is unknown, but in the early 1900s, an American family acquired the sculptures from a German art dealer."}],"dimensionalData":[{"dimID":9982,"dimensions":"172.7 x 86.3 x 42.2 cm","description":"Object Height\/Width\/Depth"},{"dimID":49815,"dimensions":"68 x 34 x 16 5\/8 in","description":"Object Height\/Width\/Depth"}]},{"id":332,"objectID":9110,"title":"Saint Damian","accessionNumber":"1950.0091","geoAssoc":"Electorate of Bavaria (present-day Germany)","currLoc":"407, Kress Gallery, 407, E4","alias":"","objectDate":"circa 1750\u20131765","material":"linden wood, polychromy, gilding","creditLine":"Museum purchase","exhibition":[{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78494,"collectionID":3474,"collectionType":"exhibition","description":"These figures of Saints Cosmas and Damian likely flanked the central part of a South-German altarpiece. Cosmas and Damian were physicians and were later venerated by those seeking protection from the plague and adopted as patron saints for members of medical professions.\r\nWhich church the sculptures came from is unknown, but in the early 1900s, an American family acquired the sculptures from a German art dealer.","displayDescription":"These figures of Saints Cosmas and Damian likely flanked the central part of a South-German altarpiece. Cosmas and Damian were physicians and were later venerated by those seeking protection from the plague and adopted as patron saints for members of medical professions.\r\nWhich church the sculptures came from is unknown, but in the early 1900s, an American family acquired the sculptures from a German art dealer."}],"dimensionalData":[{"dimID":9983,"dimensions":"172.2 x 75.2 x 42.2 cm","description":"Object Height\/Width\/Depth"},{"dimID":49816,"dimensions":"67 3\/4 x 29 5\/8 x 16 5\/8 in","description":"Object Height\/Width\/Depth"}]},{"id":333,"objectID":9141,"title":"Le Discret","accessionNumber":"1951.0074","geoAssoc":"France","currLoc":"408, Kemper Balcony, 408, S1","alias":"","objectDate":"circa 1791","material":"oil, aluminum panel (transferred from canvas)","creditLine":"Museum purchase through The Kansas University Endowment Association","exhibition":[{"id":3479,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78873,"collectionID":3479,"collectionType":"exhibition","description":"In this self-portrait Joseph Ducreux raises a finger to his lips, urging the viewer to be silent. Influenced by contemporary theories of physiognomy\u2014the assessment of someone\u2019s character by their outward appearance\u2014he depicted himself in a range of exaggerated gestures and facial expressions. By showing himself yawning, laughing, crying, or pointing a mocking finger at the viewer, Ducreux engaged directly with his audience in a manner that was unusual for the time.","displayDescription":"In this self-portrait Joseph Ducreux raises a finger to his lips, urging the viewer to be silent. Influenced by contemporary theories of physiognomy\u2014the assessment of someone\u2019s character by their outward appearance\u2014he depicted himself in a range of exaggerated gestures and facial expressions. By showing himself yawning, laughing, crying, or pointing a mocking finger at the viewer, Ducreux engaged directly with his audience in a manner that was unusual for the time."}],"dimensionalData":[{"dimID":23453,"dimensions":"oval 91.6 x 79.9 cm","description":"Canvas\/Support"},{"dimID":23454,"dimensions":"36 x 29 1\/8 in","description":"Canvas\/Support"},{"dimID":28660,"dimensions":"oval 41 x 34 in","description":"Frame Dimensions"}]},{"id":334,"objectID":9289,"title":"Christ in Gethsemane","accessionNumber":"1954.0002","geoAssoc":"Italy","currLoc":"407, Kress Gallery, 407, S2","alias":"","objectDate":"circa 1590\u20131605","material":"oil, canvas","creditLine":"Museum purchase","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78427,"collectionID":3473,"collectionType":"exhibition","description":"Set in a rocky moonlit landscape, this painting portrays Jesus praying as an angel descends to deliver a fateful cup, a symbol of his approaching death. In a distant rocky archway at the left, the figure of Judas leads Roman soldiers to arrest Jesus, setting in motion his crucifixion. The deep shadows and dramatic highlights amplify the spiritual intensity of this moment.","displayDescription":"Set in a rocky moonlit landscape, this painting portrays Jesus praying as an angel descends to deliver a fateful cup, a symbol of his approaching death. In a distant rocky archway at the left, the figure of Judas leads Roman soldiers to arrest Jesus, setting in motion his crucifixion. The deep shadows and dramatic highlights amplify the spiritual intensity of this moment."}],"dimensionalData":[{"dimID":170393,"dimensions":"73 1\/2 x 91 x 5 in","description":"Frame Dimensions"},{"dimID":50123,"dimensions":"156.6 x 171.1 cm","description":"Canvas\/Support"},{"dimID":50124,"dimensions":"61 11\/16 x 67 3\/8 in","description":"Canvas\/Support"}]},{"id":335,"objectID":9713,"title":"The Burning of Troy","accessionNumber":"1955.0083","geoAssoc":"Netherlands","currLoc":"407, Kress Gallery, 407, S3","alias":"","objectDate":"early 1600s\u2013mid 1600s","material":"oil, panel","creditLine":"Museum purchase","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78447,"collectionID":3473,"collectionType":"exhibition","description":"Rombout van Troyen, who specialized in dramatic night scenes, depicts the end of the decade-long Trojan War when the Greeks seized the city of Troy and burned it. Troy was an ancient city located in present-day Turkey. In Greek mythology, Troy was the setting of the Trojan War, in which the Achaeans, or Greeks, waged war after Paris, Prince of Troy, abducted Helen, the Queen of Sparta, an ancient Greek city-state.","displayDescription":"Rombout van Troyen, who specialized in dramatic night scenes, depicts the end of the decade-long Trojan War when the Greeks seized the city of Troy and burned it. Troy was an ancient city located in present-day Turkey. In Greek mythology, Troy was the setting of the Trojan War, in which the Achaeans, or Greeks, waged war after Paris, Prince of Troy, abducted Helen, the Queen of Sparta, an ancient Greek city-state."}],"dimensionalData":[{"dimID":49615,"dimensions":"48.3 x 71.1 cm","description":"Canvas\/Support"},{"dimID":49616,"dimensions":"19 x 28 in","description":"Canvas\/Support"},{"dimID":170305,"dimensions":"27 1\/2 x 36 1\/2 x 1 1\/2 in","description":"Frame Dimensions"}]},{"id":336,"objectID":9841,"title":"sketch for Tragic Prelude I (John Brown)","accessionNumber":"1957.0059","geoAssoc":"United States","currLoc":"401, Loo Gallery, 401, E1","alias":"","objectDate":"1937","material":"oil, canvas","creditLine":"Gift of Mr. and Mrs. C. L. Burt, Hutchinson, Kansas","exhibition":[{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78488,"collectionID":3474,"collectionType":"exhibition","description":"These sketches demonstrate John Steuart Curry\u2019s plans for his commissioned murals at the Kansas Statehouse in Topeka. Parts of the mural illustrate the violent history of colonial exploration and conquest in Kansas, represented by Coronado and Father Juan de Padilla. Curry\u2019s depiction of the fiery abolitionist John Brown speaks to the territorial conflicts over slavery hastening the Civil War.","displayDescription":"These sketches demonstrate John Steuart Curry\u2019s plans for his commissioned murals at the Kansas Statehouse in Topeka. Parts of the mural illustrate the violent history of colonial exploration and conquest in Kansas, represented by Coronado and Father Juan de Padilla. Curry\u2019s depiction of the fiery abolitionist John Brown speaks to the territorial conflicts over slavery hastening the Civil War."}],"dimensionalData":[{"dimID":84282,"dimensions":"67.3 x 122 cm","description":"Canvas\/Support"},{"dimID":84283,"dimensions":"26 1\/2 x 48 1\/16 in","description":"Canvas\/Support"},{"dimID":84975,"dimensions":"28 1\/2 x 49 x 1 1\/2 in","description":"Frame Dimensions"}]},{"id":337,"objectID":9842,"title":"sketch for Tragic Prelude II (The Plainsman, Coronado, Padre Padilla)","accessionNumber":"1957.0060","geoAssoc":"United States","currLoc":"401, Loo Gallery, 401, E1","alias":"","objectDate":"1937","material":"oil, canvas","creditLine":"Gift of Mr. and Mrs. C. L. Burt, Hutchinson, Kansas","exhibition":[{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78489,"collectionID":3474,"collectionType":"exhibition","description":"These sketches demonstrate John Steuart Curry\u2019s plans for his commissioned murals at the Kansas Statehouse in Topeka. Parts of the mural illustrate the violent history of colonial exploration and conquest in Kansas, represented by Coronado and Father Juan de Padilla. Curry\u2019s depiction of the fiery abolitionist John Brown speaks to the territorial conflicts over slavery hastening the Civil War.","displayDescription":"These sketches demonstrate John Steuart Curry\u2019s plans for his commissioned murals at the Kansas Statehouse in Topeka. Parts of the mural illustrate the violent history of colonial exploration and conquest in Kansas, represented by Coronado and Father Juan de Padilla. Curry\u2019s depiction of the fiery abolitionist John Brown speaks to the territorial conflicts over slavery hastening the Civil War."}],"dimensionalData":[{"dimID":23660,"dimensions":"67.3 x 94 cm","description":"Canvas\/Support"},{"dimID":23661,"dimensions":"26 1\/2 x 37 in","description":"Canvas\/Support"},{"dimID":170321,"dimensions":"27 3\/4 x 38 1\/4 x 1 3\/4 in","description":"Frame Dimensions"}]},{"id":338,"objectID":9855,"title":"half capital with birds and vines","accessionNumber":"1957.0074","geoAssoc":"B\u00e9arn, France","currLoc":"401, Loo Gallery, 401, E1","alias":"","objectDate":"late 1100s","material":"limestone, carving","creditLine":"Museum purchase","exhibition":[{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":46767,"dimensions":"38.5 x 47 x 28 cm","description":"Object Height\/Width\/Depth"},{"dimID":46768,"dimensions":"15 3\/16 x 18 1\/2 x 11 in","description":"Object Height\/Width\/Depth"}]},{"id":339,"objectID":9856,"title":"capital with foliage and figures","accessionNumber":"1957.0075","geoAssoc":"Ile-de-France, France","currLoc":"401, Loo Gallery, 401, E1","alias":"","objectDate":"late 1100s","material":"limestone, carving","creditLine":"Museum purchase","exhibition":[{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":46761,"dimensions":"30.5 x 37 x 37 cm","description":"Object Height\/Width\/Depth"},{"dimID":46762,"dimensions":"12 x 14 9\/16 x 14 9\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":340,"objectID":9917,"title":"fireplace grill","accessionNumber":"1958.0019","geoAssoc":"Italy","currLoc":"407, Kress Gallery, 407, S1","alias":"","objectDate":"1500s","material":"iron","creditLine":"Gift of Allan Gerdau","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":58297,"dimensions":"79.5 x 125 x 51 cm","description":"Object Height\/Width\/Depth"},{"dimID":58298,"dimensions":"31 5\/16 x 49 3\/16 x 20 1\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":341,"objectID":9983,"title":"pitcher","accessionNumber":"1958.0085.a","geoAssoc":"Italy (Etruscan)","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"800\u2013500 BCE","material":"clay","creditLine":"Bequest of Alice Rohe","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":168979,"dimensions":"11.5 x 9.5 x 7.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":168983,"dimensions":"4 1\/2 x 3 3\/4 x 2 15\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":342,"objectID":9988,"title":"drinking cup","accessionNumber":"1958.0090.b","geoAssoc":"Italy (Etruscan)","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"800\u2013500 BCE","material":"clay","creditLine":"Bequest of Alice Rohe","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78689,"collectionID":3475,"collectionType":"exhibition","description":"The style of this ancient Etruscan drinking cup is known as Bucchero, a distinctive black, burnished pottery made to resemble metal. An indigenous society of the Italian peninsula, the Etruscans\u2019 economic and social power was based on their production and export of metal, particularly iron. With few surviving records, what we know about the Etruscans comes from objects found in tombs. From the realm of the deceased, we gain clues about their ways of life.","displayDescription":"The style of this ancient Etruscan drinking cup is known as Bucchero, a distinctive black, burnished pottery made to resemble metal. An indigenous society of the Italian peninsula, the Etruscans\u2019 economic and social power was based on their production and export of metal, particularly iron. With few surviving records, what we know about the Etruscans comes from objects found in tombs. From the realm of the deceased, we gain clues about their ways of life."}],"dimensionalData":[{"dimID":168999,"dimensions":"4.6 x 12.5 x 9.9 cm","description":"Object Height\/Width\/Depth"},{"dimID":169000,"dimensions":"1 13\/16 x 4 15\/16 x 3 7\/8 in","description":"Object Height\/Width\/Depth"}]},{"id":343,"objectID":9994,"title":"bowl","accessionNumber":"1958.0096","geoAssoc":"Italy","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"800\u2013500 BCE","material":"clay","creditLine":"Bequest of Alice Rohe","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":58327,"dimensions":"7.8 x 11.7 cm","description":"Object Height\/Diameter"},{"dimID":58328,"dimensions":"3 1\/16 x 4 5\/8 in","description":"Object Height\/Diameter"}]},{"id":344,"objectID":10149,"title":"Madonna and Child with Saints","accessionNumber":"1960.0045","geoAssoc":"Italy","currLoc":"407, Kress Gallery, 407, W3","alias":"","objectDate":"late 1400s","material":"tempera, gold leaf, panel","creditLine":"Gift from the Samuel H. Kress Study Collection","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78455,"collectionID":3473,"collectionType":"exhibition","description":"This small triptych, or three-panel painting, was likely intended to be used by an individual for private prayer. The glowing effect of extravagant materials like gold leaf demonstrate status as well as piety. The compact size of the triptych made it well-suited for domestic spaces and easy to transport. The elegant, simple iconography of this painting would have made it an accessible focus of meditation for a pious individual.","displayDescription":"This small triptych, or three-panel painting, was likely intended to be used by an individual for private prayer. The glowing effect of extravagant materials like gold leaf demonstrate status as well as piety. The compact size of the triptych made it well-suited for domestic spaces and easy to transport. The elegant, simple iconography of this painting would have made it an accessible focus of meditation for a pious individual."}],"dimensionalData":[{"dimID":23799,"dimensions":"48.3 x 43.5 x 3.2 cm","description":"Object Height\/Width\/Depth"},{"dimID":23800,"dimensions":"19 x 17 1\/8 x 1 1\/4 in","description":"Object Height\/Width\/Depth"}]},{"id":345,"objectID":10150,"title":"Madonna and Child","accessionNumber":"1960.0046","geoAssoc":"Florence, Republic of Florence (present-day Italy)","currLoc":"407, Kress Gallery, 407, S1","alias":"","objectDate":"circa 1410\u20131415","material":"tempera, gold leaf, panel","creditLine":"Gift from the Samuel H. Kress Study Collection","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78453,"collectionID":3473,"collectionType":"exhibition","description":"Depictions of Mary with her infant son Jesus are one of the most common representations in Christian art. Generous use of gold leaf in this painting, especially in the halos surrounding Mary and Jesus, gives a divine glow to mother and child. In his left hand Jesus holds a goldfinch, a bird associated with the crown of thorns worn by Jesus during his crucifixion. Here the goldfinch serves as a reminder of this infant\u2019s eventual suffering and death.","displayDescription":"Depictions of Mary with her infant son Jesus are one of the most common representations in Christian art. Generous use of gold leaf in this painting, especially in the halos surrounding Mary and Jesus, gives a divine glow to mother and child. In his left hand Jesus holds a goldfinch, a bird associated with the crown of thorns worn by Jesus during his crucifixion. Here the goldfinch serves as a reminder of this infant\u2019s eventual suffering and death."}],"dimensionalData":[{"dimID":92066,"dimensions":"35 3\/4 x 27 13\/16 in","description":"Frame Dimensions"},{"dimID":23801,"dimensions":"72.4 x 55.3 cm","description":"Canvas\/Support"},{"dimID":23802,"dimensions":"28 1\/2 x 21 3\/4 in","description":"Canvas\/Support"}]},{"id":346,"objectID":10152,"title":"The Assassination of Julius Caesar","accessionNumber":"1960.0048","geoAssoc":"Republic of Florence (present-day Italy)","currLoc":"401, Loo Gallery, 401, W1","alias":"","objectDate":"late 1400s","material":"tempera, wood","creditLine":"Gift from the Samuel H. Kress Study Collection","exhibition":[{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78509,"collectionID":3474,"collectionType":"exhibition","description":"The elongated, horizontal format of this painting is a clue to its initial purpose. It is a panel from a cassone, a type of chest that was a popular wedding gift during the Italian Renaissance and kept in the bedchamber. This panel had already been separated from the chest by its first recorded sale in 1949. In a museum setting, the panel is further displaced by its position at eye-level, rather than near the floor.","displayDescription":"The elongated, horizontal format of this painting is a clue to its initial purpose. It is a panel from a cassone, a type of chest that was a popular wedding gift during the Italian Renaissance and kept in the bedchamber. This panel had already been separated from the chest by its first recorded sale in 1949. In a museum setting, the panel is further displaced by its position at eye-level, rather than near the floor."}],"dimensionalData":[{"dimID":23807,"dimensions":"44.5 x 151.1 cm","description":"Canvas\/Support"},{"dimID":23808,"dimensions":"17 1\/2 x 59 1\/2 in","description":"Canvas\/Support"},{"dimID":170329,"dimensions":"24 1\/4 x 65 1\/4 x 4 1\/4 in","description":"Frame Dimensions"}]},{"id":347,"objectID":10180,"title":"pilgrim bottle","accessionNumber":"1960.0076.a,b","geoAssoc":"Italy","currLoc":"407, Kress Gallery, 407, C1","alias":"","objectDate":"mid 1500s","material":"maiolica, earthenware, glaze","creditLine":"Museum purchase","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78644,"collectionID":3475,"collectionType":"exhibition","description":"The rounded body and elongated spout of this maiolica bottle is meant to reference a pilgrim flask, a container for drinking water usually made of leather or a dried gourd and carried by religious travelers on journeys called pilgrimages. This ceramic version is too large to be carried on a pilgrimage. Instead, it was used to decant wine as part of an elaborate dinner service in 16th-century Duchy of Urbino, located in what is now central Italy.","displayDescription":"The rounded body and elongated spout of this maiolica bottle is meant to reference a pilgrim flask, a container for drinking water usually made of leather or a dried gourd and carried by religious travelers on journeys called pilgrimages. This ceramic version is too large to be carried on a pilgrimage. Instead, it was used to decant wine as part of an elaborate dinner service in 16th-century Duchy of Urbino, located in what is now central Italy."}],"dimensionalData":[{"dimID":10042,"dimensions":"42 x 29 x 16 cm","description":"Object Height\/Width\/Depth"},{"dimID":49855,"dimensions":"16 9\/16 x 11 7\/16 x 6 5\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":348,"objectID":10190,"title":"Sunset on the Plains","accessionNumber":"1961.0006","geoAssoc":"United States","currLoc":"407, Kress Gallery, 407, S3","alias":"","objectDate":"circa 1887","material":"oil, canvas","creditLine":"Gift of Charles Kincaid in honor of wife, Edith Kincaid","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78446,"collectionID":3473,"collectionType":"exhibition","description":"This painting reflects Albert Bierstadt's love of nature and close observation of atmospheric conditions. The glowing sunset fills the landscape with color and atmosphere that soften the forms of trees in the distance. Does the prairie landscape and brilliance of the setting sun remind you of a familiar place in Kansas?","displayDescription":"This painting reflects Albert Bierstadt's love of nature and close observation of atmospheric conditions. The glowing sunset fills the landscape with color and atmosphere that soften the forms of trees in the distance. Does the prairie landscape and brilliance of the setting sun remind you of a familiar place in Kansas?"}],"dimensionalData":[{"dimID":170383,"dimensions":"30 1\/4 x 37 x 4 1\/2 in","description":"Frame Dimensions"},{"dimID":47560,"dimensions":"48.3 x 66 cm","description":"Canvas\/Support"},{"dimID":47561,"dimensions":"19 x 26 in","description":"Canvas\/Support"}]},{"id":349,"objectID":10277,"title":"Tympanum with the Lamentation (Pieta)","accessionNumber":"1963.0020.a,b,c","geoAssoc":"Spain","currLoc":"406, Stewart Gallery, 406, E2","alias":"","objectDate":"circa 1500\u20131510","material":"limestone, carving","creditLine":"Museum purchase and partial gift of Edward R. Lubin","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78645,"collectionID":3475,"collectionType":"exhibition","description":"This tympanum originally topped the monumental doorway of a Christian monastery in Spain. The evocative scene of grief after the crucifixion of Jesus served to remind the believers who passed below of the reverence expected in a religious space. The current position of the tympanum at ground level allows a different perspective that emphasizes elements of its creation, such as chisel marks, traces of pigment, and differing textural treatments of the stone.\r\n\r\n\u201cOne day\u2014in 1962 or 63\u2014while poking around New York, I decided to visit Manhattan art dealer Ed Lubin, who often had very nice Medieval and Renaissance sculpture. I arrived unannounced just at the moment when Ed was unpacking some crates. In fact, he had an entire tympanum (a relief sculpture that fits under an arch), which was carved with the Lamentation...Extended chat led to my acquiring the sculpture for the University of Kansas.\u201d \u2013 Marilyn Stokstad, Director of the Spencer Museum of Art (1961\u20131968) and Professor Emerita of the Kress Foundation Department of Art History, University of Kansas","displayDescription":"This tympanum originally topped the monumental doorway of a Christian monastery in Spain. The evocative scene of grief after the crucifixion of Jesus served to remind the believers who passed below of the reverence expected in a religious space. The current position of the tympanum at ground level allows a different perspective that emphasizes elements of its creation, such as chisel marks, traces of pigment, and differing textural treatments of the stone.\r\n\r\n\u201cOne day\u2014in 1962 or 63\u2014while poking around New York, I decided to visit Manhattan art dealer Ed Lubin, who often had very nice Medieval and Renaissance sculpture. I arrived unannounced just at the moment when Ed was unpacking some crates. In fact, he had an entire tympanum (a relief sculpture that fits under an arch), which was carved with the Lamentation...Extended chat led to my acquiring the sculpture for the University of Kansas.\u201d \u2013 Marilyn Stokstad, Director of the Spencer Museum of Art (1961\u20131968) and Professor Emerita of the Kress Foundation Department of Art History, University of Kansas"}],"dimensionalData":[{"dimID":127885,"dimensions":"approximately 2100 lbs total for all three parts","description":"Weight"},{"dimID":47489,"dimensions":"111 x 205 x 26 cm","description":"Object Height\/Width\/Depth"},{"dimID":47490,"dimensions":"43 11\/16 x 80 11\/16 x 10 1\/4 in","description":"Object Height\/Width\/Depth"}]},{"id":350,"objectID":10423,"title":"bowl","accessionNumber":"1965.0011","geoAssoc":"Kashan, Persia (present-day Iran)","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"1200s\u20131300s, Seljuq period (1071\u20131325)","material":"soft paste porcelain, luster glaze","creditLine":"Gift of Dr. and Mrs. Justin L. Mooney","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":58737,"dimensions":"9 x 18.3 cm","description":"Object Height\/Diameter"},{"dimID":58738,"dimensions":"3 9\/16 x 7 3\/16 in","description":"Object Height\/Diameter"}]},{"id":351,"objectID":10639,"title":"Blindfolded Cupid","accessionNumber":"1968.0003.012","geoAssoc":"Germany","currLoc":"407, Kress Gallery, 407, W3","alias":"","objectDate":"1800s","material":"porcelain","creditLine":"Gift of Mrs. Gertrude Sellars Pearson","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78445,"collectionID":3473,"collectionType":"exhibition","description":"The common saying \u201clove is blind\u201d refers to the inability to recognize the imperfections in the object of one\u2019s love. For some, the saying means that appearances don\u2019t matter in true love, but for others, it indicates that people in love don\u2019t know what they\u2019re doing. This ceramic figurine depicts a blindfolded Cupid, the winged son of Venus, the Roman Goddess of Love.","displayDescription":"The common saying \u201clove is blind\u201d refers to the inability to recognize the imperfections in the object of one\u2019s love. For some, the saying means that appearances don\u2019t matter in true love, but for others, it indicates that people in love don\u2019t know what they\u2019re doing. This ceramic figurine depicts a blindfolded Cupid, the winged son of Venus, the Roman Goddess of Love."}],"dimensionalData":[{"dimID":59030,"dimensions":"18.4 x 9.5 x 12.1 cm","description":"Object Height\/Width\/Depth"},{"dimID":59031,"dimensions":"7 1\/4 x 3 3\/4 x 4 3\/4 in","description":"Object Height\/Width\/Depth"}]},{"id":352,"objectID":10675,"title":"Tigibus","accessionNumber":"1968.0028","geoAssoc":"United States","currLoc":"407, Kress Gallery, 407, N2","alias":"","objectDate":"1968","material":"acrylic, casting","creditLine":"Museum purchase","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78424,"collectionID":3473,"collectionType":"exhibition","description":"In 1967 Bruce Beasley began to explore the idea of transparent sculpture. After experimenting in glass, he quickly turned to acrylic, the only plastic available to him that remained truly transparent. Despite secrecy in the plastics industry that prohibited Beasley from accessing technology necessary to utilize this medium, he managed to cast a few acrylic sculptures that were several inches thick. This encouraged him to make large transparent sculptures that eventually resulted in Apolymon, a large public sculpture, which led to smaller sculptures like Tigibus.","displayDescription":"In 1967 Bruce Beasley began to explore the idea of transparent sculpture. After experimenting in glass, he quickly turned to acrylic, the only plastic available to him that remained truly transparent. Despite secrecy in the plastics industry that prohibited Beasley from accessing technology necessary to utilize this medium, he managed to cast a few acrylic sculptures that were several inches thick. This encouraged him to make large transparent sculptures that eventually resulted in Apolymon, a large public sculpture, which led to smaller sculptures like Tigibus."}],"dimensionalData":[{"dimID":28711,"dimensions":"18 5\/8 x 11 x 34 in including base","description":"Object Height\/Width\/Length"},{"dimID":28709,"dimensions":"47.3 x 28 x 86.4 cm including base","description":"Object Height\/Width\/Length"}]},{"id":353,"objectID":11124,"title":"Pale Lens","accessionNumber":"1971.0052","geoAssoc":"Los Angeles area, California, United States","currLoc":"407, Kress Gallery, 407, C2","alias":"","objectDate":"1970","material":"cast polyester","creditLine":"Gift of Mr. and Mrs. Paul Ward","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78423,"collectionID":3473,"collectionType":"exhibition","description":"\u201cIn product after product, market after market, plastics challenged traditional materials and won, taking the place of steel in cars, paper and glass in packaging, and wood in furniture.\u201d\u2014 Susan Freinkel, Plastics: A Toxic Love Story (2011)\r\n\r\nOriginally trained as an engineer, Frederick Eversley began to experiment with optical polyester sculptural forms in the 1970s. His works reflect an interest in the metaphysical implications of light and energy. Please gaze through the lens for a new perspective.","displayDescription":"\u201cIn product after product, market after market, plastics challenged traditional materials and won, taking the place of steel in cars, paper and glass in packaging, and wood in furniture.\u201d\u2014 Susan Freinkel, Plastics: A Toxic Love Story (2011)\r\n\r\nOriginally trained as an engineer, Frederick Eversley began to experiment with optical polyester sculptural forms in the 1970s. His works reflect an interest in the metaphysical implications of light and energy. Please gaze through the lens for a new perspective."}],"dimensionalData":[{"dimID":46512,"dimensions":"50.8 x 50.8 x 17.8 cm","description":"Object Height\/Width\/Depth"},{"dimID":46513,"dimensions":"20 x 20 x 7 in","description":"Object Height\/Width\/Depth"}]},{"id":354,"objectID":11198,"title":"\"Souvenir of Leavenworth Kansas\" commemorative plate","accessionNumber":"1971.0120","geoAssoc":"Staffordshire, England, United Kingdom","currLoc":"407, Kress Gallery, 407, E2","alias":"","objectDate":"1930s","material":"transferware, earthenware","creditLine":"Museum purchase: Gift of Mrs. Clifford Parson, Mrs. Robert E. Klees, and Mrs. Dewart F. Sattem in honor of their Aunt Mrs. Elizabeth Ulrich Kempton, through Endowment Association","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78646,"collectionID":3475,"collectionType":"exhibition","description":"The distant locations involved in the creation and sale of this plate demonstrate the connective threads of production and consumerism in the early 20th century. Rowland & Marsellus Co. was a New York\u2013based wholesaler that imported pottery from Staffordshire, England, to sell in the United States. This plate with scenes from Leavenworth, Kansas, was produced for C. L. Knapp & Co., at the time the largest retailer of ceramics and glassware in the Midwest.","displayDescription":"The distant locations involved in the creation and sale of this plate demonstrate the connective threads of production and consumerism in the early 20th century. Rowland & Marsellus Co. was a New York\u2013based wholesaler that imported pottery from Staffordshire, England, to sell in the United States. This plate with scenes from Leavenworth, Kansas, was produced for C. L. Knapp & Co., at the time the largest retailer of ceramics and glassware in the Midwest."}],"dimensionalData":[{"dimID":59617,"dimensions":"2.6 x 25.7 cm","description":"Object Height\/Diameter"},{"dimID":154806,"dimensions":"1 x 10 1\/8 in","description":"Object Height\/Diameter"}]},{"id":355,"objectID":12448,"title":"untitled","accessionNumber":"1975.0029","geoAssoc":"United States","currLoc":"407, Kress Gallery, 407, W1","alias":"","objectDate":"1974","material":"acrylic, ink, graphite, gesso, canvas","creditLine":"Museum purchase","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78461,"collectionID":3473,"collectionType":"exhibition","description":"As a painter Albert Wong is noted for his work in the trompe l'oeil or \"deceive the eye\" tradition. Often using everyday objects, like a sheet of paper in this painting, Wong creates optical illusions of depth and dimension. In this untitled work, shadow and light are used to create the illusion of a single sheet of paper hanging on the wall.","displayDescription":"As a painter Albert Wong is noted for his work in the trompe l'oeil or \"deceive the eye\" tradition. Often using everyday objects, like a sheet of paper in this painting, Wong creates optical illusions of depth and dimension. In this untitled work, shadow and light are used to create the illusion of a single sheet of paper hanging on the wall."}],"dimensionalData":[{"dimID":49321,"dimensions":"50.8 x 40.6 cm","description":"Canvas\/Support"},{"dimID":49322,"dimensions":"20 x 16 in","description":"Canvas\/Support"},{"dimID":170312,"dimensions":"21 3\/4 x 17 3\/4 x 1 3\/4 in","description":"Frame Dimensions"}]},{"id":356,"objectID":12475,"title":"Moonlit Scene with Castle Ruins","accessionNumber":"1975.0056","geoAssoc":"Germany","currLoc":"407, Kress Gallery, 407, W1","alias":"","objectDate":"mid-late 1800s","material":"oil, canvas","creditLine":"Gift of the Max Kade Foundation","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78460,"collectionID":3473,"collectionType":"exhibition","description":"Throughout his career, Carl Spitzweg transformed the streets and buildings of his native Munich into theatrical stages where histories, fantasies, and comedies could be enacted. In this painting, Spitzweg imagines a dapper figure dressed in 17th-century fashions standing amid overgrown ruins. Bathed in moonlight, a small figure stands among rising stone walls.","displayDescription":"Throughout his career, Carl Spitzweg transformed the streets and buildings of his native Munich into theatrical stages where histories, fantasies, and comedies could be enacted. In this painting, Spitzweg imagines a dapper figure dressed in 17th-century fashions standing amid overgrown ruins. Bathed in moonlight, a small figure stands among rising stone walls."}],"dimensionalData":[{"dimID":170381,"dimensions":"21 1\/2 x 18 3\/4 x 3 1\/2 in","description":"Frame Dimensions"},{"dimID":47137,"dimensions":"27.9 x 21.6 cm","description":"Canvas\/Support"},{"dimID":47138,"dimensions":"11 x 8 1\/2 in","description":"Canvas\/Support"}]},{"id":357,"objectID":12570,"title":"Baby Chicks","accessionNumber":"1976.0064","geoAssoc":"United States","currLoc":"407, Kress Gallery, 407, E1","alias":"","objectDate":"1886","material":"oil, panel","creditLine":"Museum purchase: Patrons and Benefactors Fund","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78442,"collectionID":3473,"collectionType":"exhibition","description":"Cocooned in the hands of a young child are five baby chicks whose bright fluffy feathers highlight Lilly Martin Spencer\u2019s expert use of texture and realism. From within the dimly lit window, the child\u2019s face is faintly visible. While Spencer\u2019s paintings span from still lifes to allegorical themes, in Baby Chicks the emphasis lies on the innocent playfulness of country life.","displayDescription":"Cocooned in the hands of a young child are five baby chicks whose bright fluffy feathers highlight Lilly Martin Spencer\u2019s expert use of texture and realism. From within the dimly lit window, the child\u2019s face is faintly visible. While Spencer\u2019s paintings span from still lifes to allegorical themes, in Baby Chicks the emphasis lies on the innocent playfulness of country life."}],"dimensionalData":[{"dimID":170325,"dimensions":"23 x 20 1\/4 x 1 3\/4 in","description":"Frame Dimensions"},{"dimID":47135,"dimensions":"42.5 x 35.6 cm","description":"Canvas\/Support"},{"dimID":47136,"dimensions":"16 3\/4 x 14 in","description":"Canvas\/Support"}]},{"id":358,"objectID":12667,"title":"Portatrice d'acqua (Water carrier)","accessionNumber":"1977.0061","geoAssoc":"Italy","currLoc":"407, Kress Gallery, 407, E2","alias":"","objectDate":"1920\u20131925","material":"micromosaic","creditLine":"Gift of the Max Kade Foundation","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78647,"collectionID":3475,"collectionType":"exhibition","description":"Visitors to Italy in the 19th century and later would often return home with objects made of small tiles (micromosaics) or precisely cut semi-precious stone (pietra dura) as a memento of their travels. Mosaics were popular in the Italian peninsula during the Roman Empire and early Christian and Byzantine periods. Collectors purchased smaller-scale contemporary pieces to possess a connection to the past. The Vatican Mosaic Studio, which produced this micromosaic, was established in 1727.","displayDescription":"Visitors to Italy in the 19th century and later would often return home with objects made of small tiles (micromosaics) or precisely cut semi-precious stone (pietra dura) as a memento of their travels. Mosaics were popular in the Italian peninsula during the Roman Empire and early Christian and Byzantine periods. Collectors purchased smaller-scale contemporary pieces to possess a connection to the past. The Vatican Mosaic Studio, which produced this micromosaic, was established in 1727."}],"dimensionalData":[{"dimID":92925,"dimensions":"16 5\/8 x 8 3\/4 in","description":"Canvas\/Support"},{"dimID":92924,"dimensions":"42.2 x 22.2 cm","description":"Canvas\/Support"},{"dimID":92926,"dimensions":"25 1\/4 x 17 1\/4 x 2 in","description":"Frame Dimensions"}]},{"id":359,"objectID":12673,"title":"Warrior Haniwa","accessionNumber":"1977.0067","geoAssoc":"Japan","currLoc":"401, Loo Gallery, 401, W2","alias":"","objectDate":"late 400s, Kofun period (250 CE\u2013552 CE)","material":"earthenware","creditLine":"Museum purchase: Barbara Benton Wescoe Fund","exhibition":[{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78497,"collectionID":3474,"collectionType":"exhibition","description":"This haniwa figure once decorated a mound covering the tomb of an important Japanese chieftain. On the slopes or summits of these tombs, haniwa sculptures stood in rows guarding the sacred space while symbolizing the power and importance of the deceased.","displayDescription":"This haniwa figure once decorated a mound covering the tomb of an important Japanese chieftain. On the slopes or summits of these tombs, haniwa sculptures stood in rows guarding the sacred space while symbolizing the power and importance of the deceased."}],"dimensionalData":[{"dimID":170333,"dimensions":"32 1\/16 x 12 5\/8 x 9 5\/8 in with base","description":"Object Height\/Width\/Depth"},{"dimID":170332,"dimensions":"81.5 x 32 x 24.5 cm with base","description":"Object Height\/Width\/Depth"}]},{"id":360,"objectID":12731,"title":"Head of a bodhisattva","accessionNumber":"1977.0125","geoAssoc":"China","currLoc":"401, Loo Gallery, 401, E1","alias":"","objectDate":"1100s\u20131200s, Southern Song dynasty (1127\u20131279)","material":"wood, paint, carving","creditLine":"Gift of John Crawford in honor of Helen F. Spencer","exhibition":[{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78500,"collectionID":3474,"collectionType":"exhibition","description":"Bodhisattvas are enlightened beings who have renounced Buddhahood and remain on Earth to extend compassion to believers and help them attain salvation. This large wooden head of a bodhisattva comes from a figure that originally stood over twelve feet tall\u2014a type that was popular in China during the 12th and 13th centuries.","displayDescription":"Bodhisattvas are enlightened beings who have renounced Buddhahood and remain on Earth to extend compassion to believers and help them attain salvation. This large wooden head of a bodhisattva comes from a figure that originally stood over twelve feet tall\u2014a type that was popular in China during the 12th and 13th centuries."}],"dimensionalData":[{"dimID":170394,"dimensions":"96 x 39 x 39.5 cm including base","description":"Object Height\/Width\/Depth"},{"dimID":170395,"dimensions":"37 13\/16 x 15 3\/8 x 15 9\/16 in including base","description":"Object Height\/Width\/Depth"}]},{"id":361,"objectID":13140,"title":"The Conqueror Worm","accessionNumber":"1979.0154","geoAssoc":"United States","currLoc":"407, Kress Gallery, 407, W1","alias":"","objectDate":"1920","material":"tempera, plywood","creditLine":"Gift of Mrs. Claude Buck","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78462,"collectionID":3473,"collectionType":"exhibition","description":"A gigantic red worm with glowing eyes slithers across a gloomy landscape devouring naked bodies in its path. This surreal scene speaks to horrific visions of hell and the afterlife that often haunt the subconscious realm. As a leading advocate of symbolist art in Chicago, Claude Buck is known for his fantastic, sometimes disturbing images infused with allegorical and literary themes drawn from sources like the macabre writings of Edgar Allan Poe.","displayDescription":"A gigantic red worm with glowing eyes slithers across a gloomy landscape devouring naked bodies in its path. This surreal scene speaks to horrific visions of hell and the afterlife that often haunt the subconscious realm. As a leading advocate of symbolist art in Chicago, Claude Buck is known for his fantastic, sometimes disturbing images infused with allegorical and literary themes drawn from sources like the macabre writings of Edgar Allan Poe."}],"dimensionalData":[{"dimID":170310,"dimensions":"17 1\/4 x 33 x 1 1\/4 in","description":"Frame Dimensions"},{"dimID":48400,"dimensions":"35.6 x 76.2 cm","description":"Canvas\/Support"},{"dimID":48401,"dimensions":"14 x 30 in","description":"Canvas\/Support"}]},{"id":362,"objectID":13239,"title":"Blossom and Decay","accessionNumber":"1980.0032","geoAssoc":"United States","currLoc":"407, Kress Gallery, 407, W1","alias":"","objectDate":"1880s","material":"oil, canvas","creditLine":"Museum purchase: Friends of the Art Museum","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78440,"collectionID":3473,"collectionType":"exhibition","description":"Frederick Stuart Church\u2019s interest in reincarnation may explain his use of the dismembered head and rose seen in this painting Blossom and Decay. Peering from beneath brown wrappings is a dark mummified head that was owned by Church at a time when even American museums had yet to display mummies.","displayDescription":"Frederick Stuart Church\u2019s interest in reincarnation may explain his use of the dismembered head and rose seen in this painting Blossom and Decay. Peering from beneath brown wrappings is a dark mummified head that was owned by Church at a time when even American museums had yet to display mummies."}],"dimensionalData":[{"dimID":138622,"dimensions":"16 7\/8 x 20 7\/8 x 1 3\/4 in","description":"Frame Dimensions"},{"dimID":48414,"dimensions":"26.6 x 36.5 cm","description":"Canvas\/Support"},{"dimID":48415,"dimensions":"10 1\/2 x 14 3\/8 in","description":"Canvas\/Support"}]},{"id":363,"objectID":13415,"title":"Caracas Model","accessionNumber":"1980.0204","geoAssoc":"United States","currLoc":"406, Stewart Gallery, 406, C2","alias":"","objectDate":"1958","material":"brass, hammering","creditLine":"Bequest of Donald Hatch in memory of Mary Bole Hatch to the University of Kansas; transferred to the Spencer Museum of Art from the School of Architecture and Design","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78648,"collectionID":3475,"collectionType":"exhibition","description":"These three maquettes, or models, each capture a single moment in an artist\u2019s creative process. Working in a smaller scale allowed Harry Bertoia, Dale Eldred, and Henry Moore to experiment with arrangement, position, and composition in three dimensions before committing to a full-scale sculpture.","displayDescription":"These three maquettes, or models, each capture a single moment in an artist\u2019s creative process. Working in a smaller scale allowed Harry Bertoia, Dale Eldred, and Henry Moore to experiment with arrangement, position, and composition in three dimensions before committing to a full-scale sculpture."}],"dimensionalData":[{"dimID":46481,"dimensions":"66.1 x 16.5 x 4.8 cm","description":"Object Height\/Width\/Depth"},{"dimID":46482,"dimensions":"26 x 6 1\/2 x 1 7\/8 in","description":"Object Height\/Width\/Depth"}]},{"id":364,"objectID":13418,"title":"untitled (sounding sculpture)","accessionNumber":"1980.0207","geoAssoc":"United States","currLoc":"318, Brosseau Learning Center, 318, E1","alias":"","objectDate":"circa 1968","material":"nickel alloy","creditLine":"Bequest of Donald Hatch in memory of Mary Bole Hatch to the University of Kansas; transferred to the Spencer Museum of Art from the School of Architecture and Design","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78789,"collectionID":3476,"collectionType":"exhibition","description":"Harry Bertoia studied the relationship between sculpture and sound. You can play this work made up of two columns of brass rods by gently touching it. In the 1960s Bertoia created hundreds of \u201csounding sculptures\u201d like this, many on a large scale. He never made the same piece twice, always seeking a different or richer sound by varying the size of the rods.","displayDescription":"Harry Bertoia studied the relationship between sculpture and sound. You can play this work made up of two columns of brass rods by gently touching it. In the 1960s Bertoia created hundreds of \u201csounding sculptures\u201d like this, many on a large scale. He never made the same piece twice, always seeking a different or richer sound by varying the size of the rods."}],"dimensionalData":[{"dimID":46477,"dimensions":"92.4 x 20.6 x 20.6 cm","description":"Object Height\/Width\/Depth"},{"dimID":46478,"dimensions":"36 3\/8 x 8 1\/8 x 8 1\/8 in","description":"Object Height\/Width\/Depth"}]},{"id":365,"objectID":13481,"title":"untitled","accessionNumber":"1980.0270","geoAssoc":"United States","currLoc":"407, Kress Gallery, 407, E3","alias":"","objectDate":"1956","material":"acrylic, linen","creditLine":"Gift of Esquire, Inc.","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78443,"collectionID":3473,"collectionType":"exhibition","description":"In 1941, Richard Lindner moved to New York City to work as a commercial illustrator before transitioning to teaching and concentrating on his painting practice. The distorted anatomy of the figure in this early painting suggests directions of his later figures\u2014some conjoined with other figures or machines, others distorted or fragmented.","displayDescription":"In 1941, Richard Lindner moved to New York City to work as a commercial illustrator before transitioning to teaching and concentrating on his painting practice. The distorted anatomy of the figure in this early painting suggests directions of his later figures\u2014some conjoined with other figures or machines, others distorted or fragmented."}],"dimensionalData":[{"dimID":62394,"dimensions":"35.5 x 28 cm","description":"Canvas\/Support"},{"dimID":62395,"dimensions":"14 x 11 in","description":"Canvas\/Support"},{"dimID":155047,"dimensions":"15 1\/4 x 12 1\/4 x 1 1\/2 in","description":"Frame Dimensions"}]},{"id":366,"objectID":14021,"title":"We Who Are About to Die","accessionNumber":"1980.0795","geoAssoc":"United States","currLoc":"407, Kress Gallery, 407, W1","alias":"","objectDate":"1946","material":"acrylic, board","creditLine":"Gift of Esquire, Inc.","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78463,"collectionID":3473,"collectionType":"exhibition","description":"Painted in gray hues, the hangman\u2019s noose in William Fleming\u2019s painting signifies impending death. This design and accompanying story were published in Coronet magazine. In his novel, We Who Are About to Die, David Lamson recounts the 13 months he spent on death row for the gruesome murder of his wife before the verdict was overturned.","displayDescription":"Painted in gray hues, the hangman\u2019s noose in William Fleming\u2019s painting signifies impending death. This design and accompanying story were published in Coronet magazine. In his novel, We Who Are About to Die, David Lamson recounts the 13 months he spent on death row for the gruesome murder of his wife before the verdict was overturned."}],"dimensionalData":[{"dimID":172290,"dimensions":"29.7 x 21.7 cm","description":"Image Dimensions Height\/Width"},{"dimID":172291,"dimensions":"11 11\/16 x 8 9\/16 in","description":"Image Dimensions Height\/Width"},{"dimID":172292,"dimensions":"44.9 x 34.5 cm","description":"Sheet\/Paper Dimensions"},{"dimID":172293,"dimensions":"19 x 14 in","description":"Mat Dimensions"},{"dimID":62916,"dimensions":"17 11\/16 x 13 9\/16 in","description":"Sheet\/Paper Dimensions"}]},{"id":367,"objectID":14312,"title":"Soleil Couchant, Marine","accessionNumber":"1981.0104","geoAssoc":"France","currLoc":"407, Kress Gallery, 407, S3","alias":"","objectDate":"1865 or 1869","material":"oil, panel","creditLine":"Museum purchase: Gift of Helen Foresman Spencer","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78430,"collectionID":3473,"collectionType":"exhibition","description":"Gustave Courbet captures the light at dusk, offering an expressive vision of the sea in all its supreme vastness. Writing to his friend, novelist Victor Hugo (1802\u20131885), in 1864, Courbet describes how he views the sea: \"The Sea! The sea with its charms saddens me. In its joyful moods, it makes me think of a laughing tiger; in its sad moods it recalls the crocodile\u2019s tears and, in its roaring fury, the caged monster that cannot swallow me up.\"","displayDescription":"Gustave Courbet captures the light at dusk, offering an expressive vision of the sea in all its supreme vastness. Writing to his friend, novelist Victor Hugo (1802\u20131885), in 1864, Courbet describes how he views the sea: \"The Sea! The sea with its charms saddens me. In its joyful moods, it makes me think of a laughing tiger; in its sad moods it recalls the crocodile\u2019s tears and, in its roaring fury, the caged monster that cannot swallow me up.\""}],"dimensionalData":[{"dimID":165147,"dimensions":"24 3\/4 x 31 x 2 1\/2 in","description":"Frame Dimensions"},{"dimID":49787,"dimensions":"39.4 x 55.9 cm","description":"Canvas\/Support"},{"dimID":49788,"dimensions":"15 1\/2 x 22 in","description":"Canvas\/Support"}]},{"id":368,"objectID":14313,"title":"Soul of the Sunflower","accessionNumber":"1981.0105","geoAssoc":"United States","currLoc":"407, Kress Gallery, 407, W3","alias":"","objectDate":"1882","material":"cast iron","creditLine":"In honor of Henry & Marjorie Wildgen, gift of their sons","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78450,"collectionID":3473,"collectionType":"exhibition","description":"This device once lined a fireplace to radiate heat. Elihu Vedder\u2019s composition merges a human form with the essence of a flower to produce this luminous embodiment of a sunflower. Vedder envisioned the metamorphic power of a hearth\u2019s blaze, declaring: \u201clighted by the flames or the flickering light of the dying fire or the glow of the embers they would seem alive.\u201d","displayDescription":"This device once lined a fireplace to radiate heat. Elihu Vedder\u2019s composition merges a human form with the essence of a flower to produce this luminous embodiment of a sunflower. Vedder envisioned the metamorphic power of a hearth\u2019s blaze, declaring: \u201clighted by the flames or the flickering light of the dying fire or the glow of the embers they would seem alive.\u201d"}],"dimensionalData":[{"dimID":170390,"dimensions":"38 1\/2 x 61 1\/2 x 3 1\/2 in","description":"Frame Dimensions"}]},{"id":369,"objectID":14397,"title":"T\u014dkaid\u014d plate","accessionNumber":"1981.0193","geoAssoc":"Japan","currLoc":"407, Kress Gallery, 407, E2","alias":"","objectDate":"circa 1840, Edo period (1600\u20131868)","material":"Imari porcelain, underglaze","creditLine":"Museum purchase","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78649,"collectionID":3475,"collectionType":"exhibition","description":"The T\u014dkaid\u014d road was a route that stretched between Kyoto and Edo along the eastern coast of Japan during the Edo Period (1600\u20131868). Along the road were 53 government-established stations for travelers to eat, rest, and present their travel permits to continue on their journey. Each of the circles on this plate represents one of those stations with a scene from Utagawa Hiroshige\u2019s famous 53 Stations of the T\u014dkaid\u014d print series.","displayDescription":"The T\u014dkaid\u014d road was a route that stretched between Kyoto and Edo along the eastern coast of Japan during the Edo Period (1600\u20131868). Along the road were 53 government-established stations for travelers to eat, rest, and present their travel permits to continue on their journey. Each of the circles on this plate represents one of those stations with a scene from Utagawa Hiroshige\u2019s famous 53 Stations of the T\u014dkaid\u014d print series."}],"dimensionalData":[{"dimID":169214,"dimensions":"18 lbs","description":"Weight"},{"dimID":63899,"dimensions":"8.9 x 63.2 cm","description":"Object Height\/Diameter"},{"dimID":63900,"dimensions":"3 1\/2 x 24 7\/8 in","description":"Object Height\/Diameter"}]},{"id":370,"objectID":14476,"title":"Maquette for \"Sheep Piece\"","accessionNumber":"1982.0050","geoAssoc":"England, United Kingdom","currLoc":"406, Stewart Gallery, 406, C2","alias":"","objectDate":"circa 1972","material":"bronze, casting","creditLine":"Gift of Mr. and Mrs. Arthur H. Wolf","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78650,"collectionID":3475,"collectionType":"exhibition","description":"These three maquettes, or models, each capture a single moment in an artist\u2019s creative process. Working in a smaller scale allowed Harry Bertoia, Dale Eldred, and Henry Moore to experiment with arrangement, position, and composition in three dimensions before committing to a full-scale sculpture.","displayDescription":"These three maquettes, or models, each capture a single moment in an artist\u2019s creative process. Working in a smaller scale allowed Harry Bertoia, Dale Eldred, and Henry Moore to experiment with arrangement, position, and composition in three dimensions before committing to a full-scale sculpture."}],"dimensionalData":[{"dimID":170290,"dimensions":"4 7\/16 x 4 7\/16 x 5 1\/2 in","description":"Object Height\/Width\/Length"},{"dimID":170289,"dimensions":"11.3 x 11.3 x 13.9 cm","description":"Object Height\/Width\/Length"}]},{"id":371,"objectID":14675,"title":"Around the Cake","accessionNumber":"1982.0144","geoAssoc":"United States","currLoc":"401, Loo Gallery, 401, W3","alias":"","objectDate":"1962","material":"oil, canvas","creditLine":"Gift of Ralph T. Coe in memory of Helen F. Spencer","exhibition":[{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78498,"collectionID":3474,"collectionType":"exhibition","description":"Wayne Thiebaud\u2019s painting of cake reflects his interest in mass-produced and widely available American consumer goods such as desserts, often opulently displayed in diner and cafeteria cases. Here the cake comes whole or by the slice, with all the decadent frosting anyone could want.","displayDescription":"Wayne Thiebaud\u2019s painting of cake reflects his interest in mass-produced and widely available American consumer goods such as desserts, often opulently displayed in diner and cafeteria cases. Here the cake comes whole or by the slice, with all the decadent frosting anyone could want."}],"dimensionalData":[{"dimID":152859,"dimensions":"23 1\/2 x 29 5\/8 x 2 1\/2 in","description":"Frame Dimensions"},{"dimID":16486,"dimensions":"55.9 x 71.1 cm","description":"Canvas\/Support"},{"dimID":16487,"dimensions":"22 x 28 in","description":"Canvas\/Support"}]},{"id":372,"objectID":14733,"title":"sauceboat","accessionNumber":"1982.0203","geoAssoc":"Denmark","currLoc":"407, Kress Gallery, 407, W2","alias":"","objectDate":"1954","material":"porcelain, paint, gilding","creditLine":"Bequest of Helen Foresman Spencer","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":64365,"dimensions":"5 1\/2 x 6 7\/8 x 9 3\/16 in","description":"Object Height\/Width\/Length"},{"dimID":64364,"dimensions":"14 x 17.6 x 23.4 cm","description":"Object Height\/Width\/Length"}]},{"id":373,"objectID":14854,"title":"salt cellar with spoon","accessionNumber":"1982.0324.a,b,c","geoAssoc":"Sweden","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"date unknown","material":"silver, glass, enamel","creditLine":"Gift from the Hoffman-Cohen-Rose Collection","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78520,"collectionID":3475,"collectionType":"exhibition","description":"Salt is vital to survival and the scarcity of naturally occurring salt deposits led to it becoming a popular trade commodity. Some of the earliest and most prominent salt trade routes traversed inhospitable landscapes from Morocco, through the Sahara Desert, and on to Timbuktu. Others linked Egypt, the Aegean, and the Mediterranean with the Libyan Desert. Salt was so valuable it was used as currency, traded ounce for ounce with gold in parts of Africa.","displayDescription":"Salt is vital to survival and the scarcity of naturally occurring salt deposits led to it becoming a popular trade commodity. Some of the earliest and most prominent salt trade routes traversed inhospitable landscapes from Morocco, through the Sahara Desert, and on to Timbuktu. Others linked Egypt, the Aegean, and the Mediterranean with the Libyan Desert. Salt was so valuable it was used as currency, traded ounce for ounce with gold in parts of Africa."}],"dimensionalData":[{"dimID":52942,"dimensions":"a 4 x 3.5 x 8.3 cm","description":"Object Height\/Width\/Length"},{"dimID":52944,"dimensions":"a 1 9\/16 x 1 3\/8 x 3 1\/4 in","description":"Object Height\/Width\/Length"},{"dimID":52945,"dimensions":"b 1.7 x 3.1 x 5.5 cm","description":"Object Height\/Width\/Length"},{"dimID":52946,"dimensions":"b 5\/8 x 1 1\/4 x 2 1\/8 in","description":"Object Height\/Width\/Length"},{"dimID":52948,"dimensions":"c 6.4 cm","description":"Object Length"},{"dimID":52949,"dimensions":"c 2 1\/2 in","description":"Object Length"}]},{"id":374,"objectID":15363,"title":"Descent from the Cross","accessionNumber":"1984.0196.02.a,b,c","geoAssoc":"Antwerp, Southern Netherlands (present-day Belgium)","currLoc":"401, Loo Gallery, 401, W1","alias":"","objectDate":"circa 1515\u20131518","material":"oil, oak panel","creditLine":"Museum purchase: Helen Foresman Spencer Art Acquisition Fund","exhibition":[{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78496,"collectionID":3474,"collectionType":"exhibition","description":"This altarpiece was likely intended for devotional use in an intimate religious setting. Its migration between spiritual and secular contexts led to a transformation in the arrangement of its panels. Originally, the two side panels were hinged and would have enclosed the large central panel, displaying the grayscale images on their exterior. The colorful inner panels were only revealed on Sundays and feast days. In its current state, viewers can see all five panels at once.","displayDescription":"This altarpiece was likely intended for devotional use in an intimate religious setting. Its migration between spiritual and secular contexts led to a transformation in the arrangement of its panels. Originally, the two side panels were hinged and would have enclosed the large central panel, displaying the grayscale images on their exterior. The colorful inner panels were only revealed on Sundays and feast days. In its current state, viewers can see all five panels at once."}],"dimensionalData":[{"dimID":170386,"dimensions":"50 1\/2 x 63 1\/2 x 2 1\/2 in","description":"Frame Dimensions"}]},{"id":375,"objectID":15638,"title":"A Shipwreck","accessionNumber":"1985.0204","geoAssoc":"France","currLoc":"407, Kress Gallery, 407, E1","alias":"","objectDate":"circa 1770","material":"oil, canvas","creditLine":"Gift of Donald Sloan in honor of Professor Marilyn Stokstad","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78457,"collectionID":3473,"collectionType":"exhibition","description":"Dramatic shipwreck scenes like this one established Philip de Loutherbourg\u2019s career in France, but he is best remembered for his stage designs in England. His career-long fascination with the theatrical potential of light, motion, and catastrophe was realized on an extreme scale in 1781 when he built the Eidophusikon: a painting in four dimensions that incorporated mechanically rotating sets, varied lighting, smoke, and musical accompaniment to emulate shipwrecks and other natural spectacles.","displayDescription":"Dramatic shipwreck scenes like this one established Philip de Loutherbourg\u2019s career in France, but he is best remembered for his stage designs in England. His career-long fascination with the theatrical potential of light, motion, and catastrophe was realized on an extreme scale in 1781 when he built the Eidophusikon: a painting in four dimensions that incorporated mechanically rotating sets, varied lighting, smoke, and musical accompaniment to emulate shipwrecks and other natural spectacles."}],"dimensionalData":[{"dimID":170384,"dimensions":"32 3\/4 x 42 1\/4 x 3 1\/4 in","description":"Frame Dimensions"},{"dimID":47885,"dimensions":"59 x 82.5 cm","description":"Canvas\/Support"},{"dimID":47886,"dimensions":"23 1\/4 x 32 1\/2 in","description":"Canvas\/Support"}]},{"id":376,"objectID":17818,"title":"chalice","accessionNumber":"1992.0103","geoAssoc":"United States","currLoc":"407, Kress Gallery, 407, W3","alias":"","objectDate":"1982","material":"earthenware","creditLine":"Museum purchase: Peter T. Bohan Art Acquisition Fund","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78456,"collectionID":3473,"collectionType":"exhibition","description":"The brilliant golden luster of this earthenware work speaks to the sacred symbolism of a chalice and Beatrice Wood's playfulness with form and glaze. The chalice, in various shapes, is a recurring subject in her art. Wood started working with the iridescent, metallic luster glaze in the 1940s, and it became a trademark of her ceramic works.","displayDescription":"The brilliant golden luster of this earthenware work speaks to the sacred symbolism of a chalice and Beatrice Wood's playfulness with form and glaze. The chalice, in various shapes, is a recurring subject in her art. Wood started working with the iridescent, metallic luster glaze in the 1940s, and it became a trademark of her ceramic works."}],"dimensionalData":[{"dimID":169329,"dimensions":"4 lbs","description":"Weight"},{"dimID":11071,"dimensions":"11 1\/2 x 6 1\/4 in","description":"Object Height\/Diameter"},{"dimID":17904,"dimensions":"29.2 x 15.8 cm","description":"Object Height\/Diameter"}]},{"id":377,"objectID":18162,"title":"Skull Teapot, Variation #17","accessionNumber":"1993.0033","geoAssoc":"United States","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"1991","material":"stoneware","creditLine":"Museum purchase: Peter T. Bohan Art Acquisition Fund","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78521,"collectionID":3475,"collectionType":"exhibition","description":"Richard Notkin serves anti-war messages from his teapots, explaining \u201cI use the teapot metaphorically\u2026I\u2019m more interested in conveying ideas than tea.\u201d Notkin grew up in the aftermath of World War II and the Holocaust and was a student at the Kansas City Art Institute during the Vietnam War. Steeped in those events, he creates teapots with haunting symbols that warn of the horrors of war: a mushroom cloud, skull, and teetering stacks of dice.","displayDescription":"Richard Notkin serves anti-war messages from his teapots, explaining \u201cI use the teapot metaphorically\u2026I\u2019m more interested in conveying ideas than tea.\u201d Notkin grew up in the aftermath of World War II and the Holocaust and was a student at the Kansas City Art Institute during the Vietnam War. Steeped in those events, he creates teapots with haunting symbols that warn of the horrors of war: a mushroom cloud, skull, and teetering stacks of dice."}],"dimensionalData":[{"dimID":11404,"dimensions":"18.5 x 12 x 7.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":169196,"dimensions":"7 5\/16 x 4 3\/4 x 2 15\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":378,"objectID":18264,"title":"Howl","accessionNumber":"1993.0282","geoAssoc":"United States","currLoc":"407, Kress Gallery, 407, S2","alias":"","objectDate":"1986","material":"fiberglass, acrylic urethane","creditLine":"Museum purchase","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78422,"collectionID":3473,"collectionType":"exhibition","description":"This fiberglass sculpture by Mexican-American artist Luis Jimenez evokes the lonely cry of a wolf howling at a full moon. Born in El Paso, Texas, Jimenez often used imagery like a howling wolf to explore the historic and contemporary collision of cultures along the border between the United States and Mexico. Howl resonates with the tensions between a humanized landscape and the wild.","displayDescription":"This fiberglass sculpture by Mexican-American artist Luis Jimenez evokes the lonely cry of a wolf howling at a full moon. Born in El Paso, Texas, Jimenez often used imagery like a howling wolf to explore the historic and contemporary collision of cultures along the border between the United States and Mexico. Howl resonates with the tensions between a humanized landscape and the wild."}],"dimensionalData":[{"dimID":11452,"dimensions":"152.4 x 91.4 x 91.4 cm","description":"Object Height\/Width\/Depth"},{"dimID":18654,"dimensions":"60 x 36 x 36 in","description":"Object Height\/Width\/Depth"}]},{"id":379,"objectID":18343,"title":"Nuremberg armorial stained glass roundel","accessionNumber":"1993.0361","geoAssoc":"Germany","currLoc":"407, Kress Gallery, 407, W1","alias":"","objectDate":"1564","material":"stained glass","creditLine":"Gift of the Mark L. Morris Jr. Family","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":11492,"dimensions":"32.8 x 0.6 cm","description":"Object Diameter\/Depth"},{"dimID":170282,"dimensions":"12 15\/16 x 1\/4 in","description":"Object Diameter\/Depth"}]},{"id":380,"objectID":18344,"title":"Judith holding the head of Holofernes","accessionNumber":"1993.0362","geoAssoc":"Augsburg, Germany","currLoc":"407, Kress Gallery, 407, W1","alias":"","objectDate":"1563","material":"stained glass","creditLine":"Gift of the Mark L. Morris Jr. Family","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":164307,"dimensions":"31.5 x 0.6 cm irregular","description":"Object Diameter\/Depth"},{"dimID":164308,"dimensions":"12 3\/8 x 1\/4 in irregular","description":"Object Diameter\/Depth"}]},{"id":381,"objectID":18345,"title":"landsknecht (mercenary soldier)","accessionNumber":"1993.0363","geoAssoc":"Switzerland","currLoc":"407, Kress Gallery, 407, W1","alias":"","objectDate":"circa 1600","material":"stained glass","creditLine":"Gift of the Mark L. Morris Jr. Family","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":11494,"dimensions":"24.8 x 18.2 cm","description":"Object Height\/Width\/Depth"},{"dimID":20361,"dimensions":"9 3\/4 x 7 1\/8 in","description":"Object Height\/Width\/Depth"}]},{"id":382,"objectID":18347,"title":"standing warrior holding a lance","accessionNumber":"1993.0365","geoAssoc":"Southern Netherlands (present-day Belgium)","currLoc":"407, Kress Gallery, 407, W1","alias":"","objectDate":"circa 1700","material":"stained glass","creditLine":"Gift of the Mark L. Morris Jr. Family","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":11496,"dimensions":"6 7\/8 x 4 3\/4 in","description":"Object Height\/Width\/Depth"},{"dimID":20363,"dimensions":"17.5 x 12.1 cm","description":"Object Height\/Width\/Depth"}]},{"id":383,"objectID":18348,"title":"The Annunciation roundel","accessionNumber":"1993.0366","geoAssoc":"France or Germany","currLoc":"407, Kress Gallery, 407, W1","alias":"","objectDate":"circa 1500","material":"stained glass","creditLine":"Gift of the Mark L. Morris Jr. Family","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":164309,"dimensions":"34.3 x 0.8 cm irregular","description":"Object Diameter\/Depth"},{"dimID":164310,"dimensions":"13 1\/2 x 5\/16 in irregular","description":"Object Diameter\/Depth"}]},{"id":384,"objectID":18721,"title":"spouted vessel","accessionNumber":"1996.0066","geoAssoc":"Japan","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"Final Jomon period (1000 BCE\u2013300 BCE)","material":"stoneware","creditLine":"Museum purchase: Barbara Benton Wescoe Fund","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":64717,"dimensions":"9 x 21 x 18 cm","description":"Object Height\/Width\/Diameter"},{"dimID":64719,"dimensions":"3 1\/2 x 8 1\/4 x 7 1\/16 in","description":"Object Height\/Width\/Diameter"}]},{"id":385,"objectID":18724,"title":"flask","accessionNumber":"1996.0069","geoAssoc":"Japan","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"500s\u2013600s, Asuka period (552 CE\u2013645 CE)","material":"Sue ware, stoneware","creditLine":"Museum purchase: Barbara Benton Wescoe Fund","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":64758,"dimensions":"22 x 19 x 13 cm","description":"Object Height\/Width\/Depth"},{"dimID":64760,"dimensions":"8 5\/8 x 7 1\/16 x 5 1\/8 in","description":"Object Height\/Width\/Depth"}]},{"id":386,"objectID":18748,"title":"Persian Wall","accessionNumber":"1996.0093","geoAssoc":"United States","currLoc":"406, Stewart Gallery, 406, Stairwell","alias":"","objectDate":"1996","material":"blown glass","creditLine":"Museum purchase: Gift of Larry L. and Barbara Criss Marshall","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78524,"collectionID":3475,"collectionType":"exhibition","description":"Dale Chihuly co-founded the Pilchuck Glass School, an influential educational space that hosts classes, workshops, and artist residencies. Among the renowned artists who studied at Pilchuck is Tlingit artist Preston Singletary, whose sculpture Eagle Hat is featured at the top of the stairs. Formal schools and workshops remain a valuable way to transmit artistic skill and knowledge to new generations.\r\n\r\nThis wall sculpture is from Dale Chihuly\u2019s series Persians, which explores form, shape, and color and celebrates experimentation and innovation in glassblowing. These flaring, rippling shapes reference what Chihuly calls \u201csea forms.\u201d This work was created specifically as a commission for the Spencer Museum of Art. Although the crimson and blue hues recall the University of Kansas\u2019s colors, Chihuly selected them to resonate with works of art that were then installed nearby.\r\n\r\nLight passing through the vibrant red and blue blown glass disks of Persian Wall casts dramatic, rippling reflections on the gallery\u2019s walls. How do other artists working with glass in this gallery, such as Karen LaMonte and Preston Singletary, draw on the interplay of light and shadow to enliven their sculptures?","displayDescription":"Dale Chihuly co-founded the Pilchuck Glass School, an influential educational space that hosts classes, workshops, and artist residencies. Among the renowned artists who studied at Pilchuck is Tlingit artist Preston Singletary, whose sculpture Eagle Hat is featured at the top of the stairs. Formal schools and workshops remain a valuable way to transmit artistic skill and knowledge to new generations.\r\n\r\nThis wall sculpture is from Dale Chihuly\u2019s series Persians, which explores form, shape, and color and celebrates experimentation and innovation in glassblowing. These flaring, rippling shapes reference what Chihuly calls \u201csea forms.\u201d This work was created specifically as a commission for the Spencer Museum of Art. Although the crimson and blue hues recall the University of Kansas\u2019s colors, Chihuly selected them to resonate with works of art that were then installed nearby.\r\n\r\nLight passing through the vibrant red and blue blown glass disks of Persian Wall casts dramatic, rippling reflections on the gallery\u2019s walls. How do other artists working with glass in this gallery, such as Karen LaMonte and Preston Singletary, draw on the interplay of light and shadow to enliven their sculptures?"}],"dimensionalData":[]},{"id":387,"objectID":18749,"title":"Christ Brought Before Pilate","accessionNumber":"1996.0094","geoAssoc":"Venice, Italy","currLoc":"407, Kress Gallery, 407, S1","alias":"","objectDate":"circa 1720\u20131730","material":"oil, canvas","creditLine":"Museum purchase: Helen Foresman Spencer Art Acquisition Fund and Gift of Richard T. Shields and Carolyn Shields Walker in memory of Mrs. Edwin Shields by exchange","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78433,"collectionID":3473,"collectionType":"exhibition","description":"The dramatic gestures and strong contrasts of light and shade in this painting heighten this theatrical scene with Jesus bound and standing before Pontius Pilate, the Roman governor of Palestine. Giovanni Battista Crosato was an accomplished fresco painter and set designer best known for decorative wall murals, many of which still grace the palaces of Venice and Turin, Italy.","displayDescription":"The dramatic gestures and strong contrasts of light and shade in this painting heighten this theatrical scene with Jesus bound and standing before Pontius Pilate, the Roman governor of Palestine. Giovanni Battista Crosato was an accomplished fresco painter and set designer best known for decorative wall murals, many of which still grace the palaces of Venice and Turin, Italy."}],"dimensionalData":[{"dimID":11825,"dimensions":"175.7 x 141.7 cm","description":"Object Height\/Width"},{"dimID":14603,"dimensions":"69 3\/16 x 55 3\/4 in","description":"Canvas\/Support"},{"dimID":90222,"dimensions":"70 1\/2 x 56 7\/8 in","description":"Frame Dimensions"}]},{"id":388,"objectID":18890,"title":"Sun Dappled Entrance, Egypt","accessionNumber":"1997.0026","geoAssoc":"United States","currLoc":"407, Kress Gallery, 407, W1","alias":"","objectDate":"1891","material":"oil, canvas","creditLine":"Museum purchase: Gift of Frank Pinet (Class of 1942) and family in memory of Winifred Meyer Pinet (Class of 1955)","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78459,"collectionID":3473,"collectionType":"exhibition","description":"After studying art in America and Europe Eric Pape spent two years in Egypt. He spent several months exploring Egypt by camel, even camping one night at the Great Pyramid of Giza. For this painting, Pape captures local scenery by focusing on a stone doorway bathed in shadow and punctuated by the transient play of light on white and red stone.","displayDescription":"After studying art in America and Europe Eric Pape spent two years in Egypt. He spent several months exploring Egypt by camel, even camping one night at the Great Pyramid of Giza. For this painting, Pape captures local scenery by focusing on a stone doorway bathed in shadow and punctuated by the transient play of light on white and red stone."}],"dimensionalData":[{"dimID":11942,"dimensions":"43.9 x 30.5 cm","description":"Canvas\/Support"},{"dimID":53651,"dimensions":"17 1\/4 x 12 in","description":"Canvas\/Support"},{"dimID":170380,"dimensions":"23 1\/4 x 17 3\/4 x 2 in","description":"Frame Dimensions"}]},{"id":389,"objectID":19363,"title":"tripod censer","accessionNumber":"1998.0004","geoAssoc":"China","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"1200s, Southern Song dynasty (1127\u20131279)","material":"longquan \u9f8d\u6cc9 stoneware, gilding, lacquer repair","creditLine":"Museum purchase: Friends of the Art Museum and Mary Margaret Clevenger Fund","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78526,"collectionID":3475,"collectionType":"exhibition","description":"Longquan ware was one of the most popular Chinese ceramics for both domestic and foreign markets during the 12th to 14th centuries. Although covered with thick green glaze, the material of Longquan ware was close to white porcelain. By controlling the amount of metal in the clay and glaze, potters produced celadon in a range of colors. This tripod stoneware censer resembles an ancient bronze ritual object by mimicking its dark greenish-blue color and casting marks.","displayDescription":"Longquan ware was one of the most popular Chinese ceramics for both domestic and foreign markets during the 12th to 14th centuries. Although covered with thick green glaze, the material of Longquan ware was close to white porcelain. By controlling the amount of metal in the clay and glaze, potters produced celadon in a range of colors. This tripod stoneware censer resembles an ancient bronze ritual object by mimicking its dark greenish-blue color and casting marks."}],"dimensionalData":[{"dimID":155577,"dimensions":"11.5 x 16 cm","description":"Object Height\/Diameter"},{"dimID":12387,"dimensions":"4 1\/2 x 6 5\/16 in","description":"Object Height\/Diameter"}]},{"id":390,"objectID":21298,"title":"Untitled 31587","accessionNumber":"2001.0190.a,b","geoAssoc":"United States","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"1987","material":"porcelain","creditLine":"Bequest of Judith M. Cooke","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":84116,"dimensions":"5 1\/2 x 3 3\/8 x 3 in","description":"Object Height\/Width\/Depth"},{"dimID":13193,"dimensions":"14 x 8.6 x 7.6 cm","description":"Object Height\/Width\/Depth"}]},{"id":391,"objectID":21503,"title":"coffee pot with lid, Botticelli (Standing Heart pattern)","accessionNumber":"2013.0070.a,b","geoAssoc":"Germany","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"circa 1903","material":"porcelain, glaze","creditLine":"Gift of Robert A. Hiller","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":113836,"dimensions":"18.5 x 20.3 x 14 cm","description":"Object Height\/Width\/Depth"},{"dimID":113837,"dimensions":"7 5\/16 x 8 x 5 1\/2 in","description":"Object Height\/Width\/Depth"}]},{"id":392,"objectID":21909,"title":"tea caddy","accessionNumber":"2002.0056.a,b","geoAssoc":"England, United Kingdom","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"mid 1800s","material":"porcelain, gilding","creditLine":"Gift of Mr. and Mrs. Condra Henry Miller","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":25033,"dimensions":"9.7 x 5.8 x 5.8 cm","description":"Object Height\/Width\/Depth"},{"dimID":25034,"dimensions":"3 13\/16 x 2 5\/16 x 2 5\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":393,"objectID":22018,"title":"Doll House","accessionNumber":"2002.0121.a","geoAssoc":"London, England, United Kingdom","currLoc":"401, Loo Gallery, 401, W3","alias":"","objectDate":"2002","material":"wood, plaster, paint, cloth","creditLine":"Gift of Regina Taylor and Peter Norton","exhibition":[{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":27099,"dimensions":"32.4 x 20.3 x 27.3 cm","description":"Object Height\/Width\/Depth"},{"dimID":27100,"dimensions":"12 3\/4 x 8 x 10 3\/4 in","description":"Object Height\/Width\/Depth"}]},{"id":394,"objectID":22261,"title":"sugar bowl with lid","accessionNumber":"1928.1763.c,d","geoAssoc":"China","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"circa 1790, Qing dynasty (1644\u20131911)","material":"porcelain","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78533,"collectionID":3475,"collectionType":"exhibition","description":"From the 1500s through the early 1800s, sugar was one of the most prized and lucrative European imports. It was also a significant driver of the transatlantic slave trade. Captured Africans were shipped to Caribbean Islands to harvest sugar on plantations, which would be processed and shipped to New England and elsewhere. These decorative bowls speak to growing appetites for sugar and prompt you to consider how sugar was obtained\u2014and at what cost?","displayDescription":"From the 1500s through the early 1800s, sugar was one of the most prized and lucrative European imports. It was also a significant driver of the transatlantic slave trade. Captured Africans were shipped to Caribbean Islands to harvest sugar on plantations, which would be processed and shipped to New England and elsewhere. These decorative bowls speak to growing appetites for sugar and prompt you to consider how sugar was obtained\u2014and at what cost?"}],"dimensionalData":[{"dimID":168924,"dimensions":"14 x 12.5 x 11.2 cm","description":"Object Height\/Width\/Depth"},{"dimID":168925,"dimensions":"5 1\/2 x 4 15\/16 x 4 7\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":395,"objectID":22975,"title":"saucer","accessionNumber":"1958.0086.b","geoAssoc":"Italy (Etruscan)","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"800\u2013500 BCE","material":"clay","creditLine":"Bequest of Alice Rohe","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":58321,"dimensions":"3.3 x 8.5 cm","description":"Object Height\/Diameter"},{"dimID":58322,"dimensions":"3 3\/8 in","description":"Object Diameter"}]},{"id":396,"objectID":23481,"title":"bowl","accessionNumber":"1978.0030.05","geoAssoc":"Bab Edh-Dhra' (present-day Jordan)","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"circa 3000 BCE","material":"pottery","creditLine":"Gift of Mrs. Elizabeth Hay Bechtel in honor of Helen Foresman Spencer, courtesy of the Department of Antiquities of the Hashemite Kingdom of Jordan","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":169200,"dimensions":"5 x 9.3 cm","description":"Object Height\/Diameter"},{"dimID":169201,"dimensions":"1 15\/16 x 3 11\/16 in","description":"Object Height\/Diameter"}]},{"id":397,"objectID":23490,"title":"jug","accessionNumber":"1978.0030.22","geoAssoc":"Bab Edh-Dhra' (present-day Jordan)","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"circa 3000 BCE","material":"pottery","creditLine":"Gift of Mrs. Elizabeth Hay Bechtel in honor of Helen Foresman Spencer, courtesy of the Department of Antiquities of the Hashemite Kingdom of Jordan","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78536,"collectionID":3475,"collectionType":"exhibition","description":"This loop-handled jug was removed from a cemetery at Bab Edh-Dhra\u2019 in present-day Jordan. As the oldest known Semitic burial ground, the site marks a moment of great societal change as semi-nomadic people began settling into communities during the early Bronze Age. Containers for funeral feasts and burial rites were entombed alongside the deceased. What does this gesture suggest about the way these people cared for their community? How does it compare to practices today?","displayDescription":"This loop-handled jug was removed from a cemetery at Bab Edh-Dhra\u2019 in present-day Jordan. As the oldest known Semitic burial ground, the site marks a moment of great societal change as semi-nomadic people began settling into communities during the early Bronze Age. Containers for funeral feasts and burial rites were entombed alongside the deceased. What does this gesture suggest about the way these people cared for their community? How does it compare to practices today?"}],"dimensionalData":[{"dimID":169202,"dimensions":"12 x 10.5 cm","description":"Object Height\/Diameter"},{"dimID":169203,"dimensions":"4 3\/4 x 4 1\/8 in","description":"Object Height\/Diameter"}]},{"id":398,"objectID":23492,"title":"bowl","accessionNumber":"1978.0030.09","geoAssoc":"Bab Edh-Dhra' (present-day Jordan)","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"circa 3000 BCE","material":"earthenware","creditLine":"Gift of Mrs. Elizabeth Hay Bechtel in honor of Helen Foresman Spencer, courtesy of the Department of Antiquities of the Hashemite Kingdom of Jordan","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":169189,"dimensions":"11.2 x 17 cm","description":"Object Height\/Diameter"},{"dimID":169190,"dimensions":"4 7\/16 x 6 11\/16 in","description":"Object Height\/Diameter"}]},{"id":399,"objectID":23500,"title":"jug","accessionNumber":"1978.0030.28","geoAssoc":"Bab Edh-Dhra' (present-day Jordan)","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"circa 3000 BCE","material":"pottery","creditLine":"Gift of Mrs. Elizabeth Hay Bechtel in honor of Helen Foresman Spencer, courtesy of the Department of Antiquities of the Hashemite Kingdom of Jordan","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":169193,"dimensions":"20 x 18.5 cm","description":"Object Height\/Diameter"},{"dimID":169194,"dimensions":"7 7\/8 x 7 5\/16 in","description":"Object Height\/Diameter"}]},{"id":400,"objectID":23541,"title":"teacup and saucer","accessionNumber":"1937.0106.a,b","geoAssoc":"England, United Kingdom","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"circa 1740","material":"earthenware, agate ware","creditLine":"Gift from The Frank P. and Harriet C. Burnap Collection","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":57235,"dimensions":"cup: 4 x 7.5 cm","description":"Object Height\/Diameter"},{"dimID":57236,"dimensions":"cup: 1 9\/16 x 2 15\/16 in","description":"Object Height\/Diameter"},{"dimID":57237,"dimensions":"saucer: 11.2 cm","description":"Object Diameter"},{"dimID":57238,"dimensions":"saucer: 4 3\/8 in","description":"Object Diameter"}]},{"id":401,"objectID":24004,"title":"dessert plate","accessionNumber":"1982.0199.10","geoAssoc":"Denmark","currLoc":"407, Kress Gallery, 407, W2","alias":"","objectDate":"1962","material":"porcelain, paint, gilding","creditLine":"Bequest of Helen Foresman Spencer","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":170255,"dimensions":"1 1\/4 x 8 7\/8 in","description":"Object Height\/Diameter"},{"dimID":170253,"dimensions":"3.1 x 22.5 cm","description":"Object Height\/Diameter"}]},{"id":402,"objectID":24023,"title":"teacup","accessionNumber":"1982.0201.17","geoAssoc":"Denmark","currLoc":"407, Kress Gallery, 407, W2","alias":"","objectDate":"1955","material":"porcelain, paint, gilding","creditLine":"Bequest of Helen Foresman Spencer","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":170259,"dimensions":"6.4 x 8.6 x 6.8 cm","description":"Object Height\/Width\/Depth"},{"dimID":170260,"dimensions":"2 1\/2 x 3 3\/8 x 2 11\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":403,"objectID":24025,"title":"saucer","accessionNumber":"1982.0201.02","geoAssoc":"Denmark","currLoc":"407, Kress Gallery, 407, W2","alias":"","objectDate":"1955","material":"porcelain, paint, gilding","creditLine":"Bequest of Helen Foresman Spencer","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":170258,"dimensions":"1 1\/8 x 5 1\/2 in","description":"Object Height\/Diameter"},{"dimID":170256,"dimensions":"2.9 x 14 cm","description":"Object Height\/Diameter"}]},{"id":404,"objectID":24037,"title":"soup bowl","accessionNumber":"1982.0204.07","geoAssoc":"Denmark","currLoc":"407, Kress Gallery, 407, W2","alias":"","objectDate":"1954","material":"porcelain, paint, gilding","creditLine":"Bequest of Helen Foresman Spencer","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":170249,"dimensions":"5.5 x 17.2 x 13 cm","description":"Object Height\/Width\/Depth"},{"dimID":170250,"dimensions":"2 3\/16 x 6 3\/4 x 5 1\/8 in","description":"Object Height\/Width\/Depth"}]},{"id":405,"objectID":24054,"title":"under plate","accessionNumber":"1982.0204.18","geoAssoc":"Denmark","currLoc":"407, Kress Gallery, 407, W2","alias":"","objectDate":"1956","material":"porcelain, paint, gilding","creditLine":"Bequest of Helen Foresman Spencer","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":170251,"dimensions":"2.7 x 17.3 cm","description":"Object Height\/Diameter"},{"dimID":170252,"dimensions":"1 1\/16 x 6 13\/16 in","description":"Object Height\/Diameter"}]},{"id":406,"objectID":24066,"title":"Eagle Hat","accessionNumber":"2003.0075","geoAssoc":"United States","currLoc":"406, Stewart Gallery, 406, C1","alias":"","objectDate":"2003","material":"blown glass, sandblasting","creditLine":"Museum purchase: Friends of the Art Museum","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78539,"collectionID":3475,"collectionType":"exhibition","description":"The flared rim and cylindrical base of this sculpture are modeled after a traditional Tlingit hat, which would have been woven from spruce root. Here, Tlingit artist Preston Singletary inverts the form of the hat, positioning it upside down. As light shines through the rim, an eagle is projected in the formline style used by the Tlingit and other Indigenous communities of the Pacific Northwest Coast.  \r\n\r\nArtistic knowledge is often passed down through generations within Indigenous communities. Preston Singletary fuses his Tlingit cultural heritage with European glassblowing traditions to create new hybrid forms of artistic expression that defy categories and expectations. Singletary studied glassblowing at the Pilchuck Glass School in Stanwood, Washington, which was co-founded by Anne Gould Hauberg, John H. Hauberg, and Dale Chihuly, whose work Persian Wall is displayed in the staircase.","displayDescription":"The flared rim and cylindrical base of this sculpture are modeled after a traditional Tlingit hat, which would have been woven from spruce root. Here, Tlingit artist Preston Singletary inverts the form of the hat, positioning it upside down. As light shines through the rim, an eagle is projected in the formline style used by the Tlingit and other Indigenous communities of the Pacific Northwest Coast.  \r\n\r\nArtistic knowledge is often passed down through generations within Indigenous communities. Preston Singletary fuses his Tlingit cultural heritage with European glassblowing traditions to create new hybrid forms of artistic expression that defy categories and expectations. Singletary studied glassblowing at the Pilchuck Glass School in Stanwood, Washington, which was co-founded by Anne Gould Hauberg, John H. Hauberg, and Dale Chihuly, whose work Persian Wall is displayed in the staircase."}],"dimensionalData":[{"dimID":24405,"dimensions":"17.14 x 48.26 cm","description":"Object Height\/Diameter"},{"dimID":24406,"dimensions":"6 3\/4 x 19 in","description":"Object Height\/Diameter"}]},{"id":407,"objectID":25624,"title":"jar with feather design","accessionNumber":"2003.0117","geoAssoc":"San Ildefonso Pueblo, New Mexico, United States","currLoc":"407, Kress Gallery, 407, W2","alias":"","objectDate":"before 1970","material":"ceramic, paint, burnishing","creditLine":"Gift of Francis Heller","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78540,"collectionID":3475,"collectionType":"exhibition","description":"Husband and wife pair Adam Martinez and Santana Roybal Martinez learned to make blackware pottery from Maria and Julian Martinez. As Maria Martinez\u2019s eldest son, Adam grew up around the craft. After he and Santana married, Julian taught Santana how to paint blackware pottery. After Julian\u2019s death in 1943, Santana painted with Maria until Maria began collaborating with her younger son, Popovi Da. Adam and Santana became well-respected potters in their own right.","displayDescription":"Husband and wife pair Adam Martinez and Santana Roybal Martinez learned to make blackware pottery from Maria and Julian Martinez. As Maria Martinez\u2019s eldest son, Adam grew up around the craft. After he and Santana married, Julian taught Santana how to paint blackware pottery. After Julian\u2019s death in 1943, Santana painted with Maria until Maria began collaborating with her younger son, Popovi Da. Adam and Santana became well-respected potters in their own right."}],"dimensionalData":[{"dimID":25989,"dimensions":"8.3 x 9.7 cm","description":"Object Height\/Diameter"},{"dimID":25990,"dimensions":"3 1\/4 x 3 13\/16 in","description":"Object Height\/Diameter"}]},{"id":408,"objectID":25856,"title":"Ichibuban (Japanese coin)","accessionNumber":"2003.0177","geoAssoc":"Japan","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"late Edo period (1600\u20131868)","material":"gold","creditLine":"Gift of George Byers","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":61723,"dimensions":"2 x 1.2 x 0.1 cm","description":"Object Length\/Width\/Depth"},{"dimID":61730,"dimensions":"13\/16 x 1\/2 x 1\/16 in","description":"Object Length\/Width\/Depth"}]},{"id":409,"objectID":27857,"title":"architectural lintel with figures traveling over land and sea","accessionNumber":"1981.0233","geoAssoc":"China","currLoc":"401, Loo Gallery, 401, E1","alias":"","objectDate":"late 1800s, Qing dynasty (1644\u20131911)","material":"wood, paint, carving","creditLine":"Gift of Helen Marcy Johnson and Arthur S. Johnson","exhibition":[{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78503,"collectionID":3474,"collectionType":"exhibition","description":"This scene, which progresses from right to left, depicts two men traveling by raft. Bats\u2014homophones for \u201cfortune\u201d in Chinese \u2014fly in the clouds overhead. The journey concludes with the two men boating across rough, choppy water. In the distance is a large walled compound, a final resting place of peace and stability. Originally, this lintel would have been placed over a doorway.","displayDescription":"This scene, which progresses from right to left, depicts two men traveling by raft. Bats\u2014homophones for \u201cfortune\u201d in Chinese \u2014fly in the clouds overhead. The journey concludes with the two men boating across rough, choppy water. In the distance is a large walled compound, a final resting place of peace and stability. Originally, this lintel would have been placed over a doorway."}],"dimensionalData":[{"dimID":28601,"dimensions":"59.69 x 218.44 x 5.71 cm","description":"Object Height\/Width\/Depth"},{"dimID":28602,"dimensions":"23 1\/2 x 86 x 2 1\/4 in","description":"Object Height\/Width\/Depth"}]},{"id":410,"objectID":28048,"title":"chocolate cup","accessionNumber":"1928.6665.b","geoAssoc":"Copenhagen, Denmark","currLoc":"407, Kress Gallery, 407, W2","alias":"","objectDate":"1700s","material":"ceramic","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78542,"collectionID":3475,"collectionType":"exhibition","description":"Chocolate consumption originated in Mesoamerica around 1400 BCE, where it was used as a form of tribute to rulers and consumed it as a frothy drink. By the 1700s, Spanish invaders had introduced this liquid confection to Western Europe, where it was sweetened with sugar and vanilla. The growing taste for hot chocolate helped fuel the spice and transatlantic slave trades.","displayDescription":"Chocolate consumption originated in Mesoamerica around 1400 BCE, where it was used as a form of tribute to rulers and consumed it as a frothy drink. By the 1700s, Spanish invaders had introduced this liquid confection to Western Europe, where it was sweetened with sugar and vanilla. The growing taste for hot chocolate helped fuel the spice and transatlantic slave trades."}],"dimensionalData":[{"dimID":56303,"dimensions":"6.1 x 8.5 x 6.1 cm","description":"Object Height\/Width\/Depth"},{"dimID":56304,"dimensions":"2 3\/8 x 3 3\/8 x 2 3\/8 in","description":"Object Height\/Width\/Depth"}]},{"id":411,"objectID":28806,"title":"plate","accessionNumber":"1982.0197.07","geoAssoc":"Denmark","currLoc":"407, Kress Gallery, 407, W2","alias":"","objectDate":"1958","material":"porcelain, paint, gilding","creditLine":"Bequest of Helen Foresman Spencer","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78543,"collectionID":3475,"collectionType":"exhibition","description":"Illustrations like this Narcissus Pseudonarcissus L. (wild daffodil) reflect European intellectual thought of the 1600s and 1700s, which emphasized rational knowledge observed in nature. The illustrations are based on the Flora Danica, or \u201cflowers of Denmark,\u201d an encyclopedia of native wildflowers of the kingdom. Claiming each as \u201cnative,\u201d however, reflects the research of the time and the agenda of its creators who sought to bolster national pride, spread botanical knowledge, and exploit the benefits of plants.","displayDescription":"Illustrations like this Narcissus Pseudonarcissus L. (wild daffodil) reflect European intellectual thought of the 1600s and 1700s, which emphasized rational knowledge observed in nature. The illustrations are based on the Flora Danica, or \u201cflowers of Denmark,\u201d an encyclopedia of native wildflowers of the kingdom. Claiming each as \u201cnative,\u201d however, reflects the research of the time and the agenda of its creators who sought to bolster national pride, spread botanical knowledge, and exploit the benefits of plants."}],"dimensionalData":[{"dimID":64245,"dimensions":"3.4 x 25.6 cm","description":"Object Height\/Width"},{"dimID":64246,"dimensions":"1 5\/16 x 10 1\/16 in","description":"Object Height\/Width"}]},{"id":412,"objectID":28815,"title":"vase with dragon appendage","accessionNumber":"1928.6235.b","geoAssoc":"Murano, Venice, Italy","currLoc":"407, Kress Gallery, 407, C1","alias":"","objectDate":"1875\u20131899","material":"blown glass, girasol","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78544,"collectionID":3475,"collectionType":"exhibition","description":"Glass pieces produced by the Venetian glassmakers at Salviati & C. were the perfect souvenirs for travelers in the late 19th and early 20th century. The delicate, glistening forms brought together centuries-old traditions and contemporary innovations that could be displayed in homes to demonstrate culture and taste.","displayDescription":"Glass pieces produced by the Venetian glassmakers at Salviati & C. were the perfect souvenirs for travelers in the late 19th and early 20th century. The delicate, glistening forms brought together centuries-old traditions and contemporary innovations that could be displayed in homes to demonstrate culture and taste."}],"dimensionalData":[{"dimID":54305,"dimensions":"20.8 x 17 x 9.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":54306,"dimensions":"8 3\/16 x 6 11\/16 x 3 3\/4 in","description":"Object Height\/Width\/Depth"}]},{"id":413,"objectID":28952,"title":"pitcher","accessionNumber":"1958.0085.b","geoAssoc":"Italy (Etruscan)","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"800\u2013500 BCE","material":"clay","creditLine":"Bequest of Alice Rohe","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":168984,"dimensions":"16 x 10.7 x 9.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":168988,"dimensions":"6 5\/16 x 4 3\/16 x 3 3\/4 in","description":"Object Height\/Width\/Depth"}]},{"id":414,"objectID":29621,"title":"pepper caster","accessionNumber":"2005.0166.a,b","geoAssoc":"London, England, United Kingdom","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"circa 1767","material":"sterling silver","creditLine":"Gift of Kathleen McBride Hall","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78546,"collectionID":3475,"collectionType":"exhibition","description":"Black pepper is native to southwestern India and has long been the world\u2019s most traded spice. Archaeological evidence reveals that it was used in ancient Egypt and was widely trafficked in the ancient Roman and Islamic spice trades. By the Middle Ages, black pepper was a valuable culinary item in Europe. The high prices prompted the Portuguese to seek a sea route to India ushering in the so-called \u201cAge of Discovery\u201d and European colonization on a global scale.","displayDescription":"Black pepper is native to southwestern India and has long been the world\u2019s most traded spice. Archaeological evidence reveals that it was used in ancient Egypt and was widely trafficked in the ancient Roman and Islamic spice trades. By the Middle Ages, black pepper was a valuable culinary item in Europe. The high prices prompted the Portuguese to seek a sea route to India ushering in the so-called \u201cAge of Discovery\u201d and European colonization on a global scale."}],"dimensionalData":[{"dimID":62682,"dimensions":"11.7 x 4.6 cm","description":"Object Height\/Diameter"},{"dimID":62683,"dimensions":"4 5\/8 x 1 3\/4 in","description":"Object Height\/Diameter"}]},{"id":415,"objectID":30712,"title":"Metamorphoses","accessionNumber":"2006.0162.a,b,c","geoAssoc":"New York, United States","currLoc":"401, Loo Gallery, 401, E3","alias":"","objectDate":"2004","material":"hair, glue, twine","creditLine":"Museum purchase: Gift of the William T. Kemper Foundation and David Woods Kemper Memorial Foundation in honor of Dr. Chu-tsing Li","exhibition":[{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78487,"collectionID":3474,"collectionType":"exhibition","description":"Influenced by the tradition of Chinese calligraphy, Wenda Gu transforms human hair and glue into textile-like panels with invented writing and characters that are meant to confuse or frustrate the viewer. Language in his work often appears old and traditional, even though it is frequently invented and unreadable. How can language or hair create a sense of belonging or otherness? What feelings and experiences are brought out by language you cannot read?","displayDescription":"Influenced by the tradition of Chinese calligraphy, Wenda Gu transforms human hair and glue into textile-like panels with invented writing and characters that are meant to confuse or frustrate the viewer. Language in his work often appears old and traditional, even though it is frequently invented and unreadable. How can language or hair create a sense of belonging or otherness? What feelings and experiences are brought out by language you cannot read?"}],"dimensionalData":[{"dimID":69252,"dimensions":"each panel only 199 x 123 cm","description":"Object Height\/Width"},{"dimID":69253,"dimensions":"each panel only 78 3\/8 x 48 3\/8 in","description":"Object Height\/Width"},{"dimID":69254,"dimensions":"each panel with strings 245 x 123 cm","description":"Mount Dimensions"},{"dimID":69255,"dimensions":"each panel with strings 96 7\/16 x 48 3\/8 in","description":"Mount Dimensions"}]},{"id":416,"objectID":30721,"title":"\u8336\u7897 chawan (tea bowl)","accessionNumber":"2006.0263","geoAssoc":"Japan","currLoc":"406, Stewart Gallery, 406, E1","alias":"","objectDate":"1900s, Edo period (1600\u20131868) or Meiji Period (1869\u20131912)","material":"Kyo-yaki, glaze","creditLine":"Gift from the Jedel Family Foundation","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":69242,"dimensions":"7.3 x 13.97 cm","description":"Object Height\/Diameter"},{"dimID":69243,"dimensions":"2 7\/8 x 5 1\/2 in","description":"Object Height\/Diameter"}]},{"id":417,"objectID":30723,"title":"\u8336\u7897 chawan (tea bowl)","accessionNumber":"2006.0265","geoAssoc":"Japan","currLoc":"406, Stewart Gallery, 406, E1","alias":"","objectDate":"1700s, Edo period (1600\u20131868)","material":"Karatsu ware, gold lacquer repair","creditLine":"Gift from the Jedel Family Foundation","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":69246,"dimensions":"10.16 x 10.16 cm","description":"Object Height\/Diameter"},{"dimID":69247,"dimensions":"4 x 4 in","description":"Object Height\/Diameter"}]},{"id":418,"objectID":31746,"title":"set of four door panels","accessionNumber":"2007.3116.01-4","geoAssoc":"Nigeria","currLoc":"407, Kress Gallery, 407, E4","alias":"","objectDate":"late 1800s\u20131975","material":"wood, clay, carving","creditLine":"Gift of Mr. and Mrs. H. Kenneth Palmer","exhibition":[{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78506,"collectionID":3474,"collectionType":"exhibition","description":"The Nupe people of Nigeria design homes that encompass a complex of earthen buildings surrounded by a wall. Entry to the complex is through a round entry hall called a katamba. Ornate, high-relief doors such as this one are usually only found in the katamba doorway, making them easily visible to anyone passing by. Doors are used to display the owner\u2019s financial success.","displayDescription":"The Nupe people of Nigeria design homes that encompass a complex of earthen buildings surrounded by a wall. Entry to the complex is through a round entry hall called a katamba. Ornate, high-relief doors such as this one are usually only found in the katamba doorway, making them easily visible to anyone passing by. Doors are used to display the owner\u2019s financial success."}],"dimensionalData":[{"dimID":92042,"dimensions":"1) 166 x 27.5 x 7 cm","description":"Object Height\/Width\/Depth"},{"dimID":92043,"dimensions":"1) 65 3\/8 x 10 13\/16 x 2 3\/4 in","description":"Object Height\/Width\/Depth"},{"dimID":92044,"dimensions":"2) 164.5 x 24.5 x 5.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":92045,"dimensions":"2) 64 3\/4 x 9 5\/8 x 2 1\/8 in","description":"Object Height\/Width\/Depth"},{"dimID":92046,"dimensions":"3) 164.5 x 23.5 x 6.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":92047,"dimensions":"3) 64 3\/4 x 9 1\/4 x 2 1\/2 in","description":"Object Height\/Width\/Depth"},{"dimID":92048,"dimensions":"4) 165 x 35.5 x 5 cm","description":"Object Height\/Width\/Depth"},{"dimID":92049,"dimensions":"4) 64 15\/16 x 14 x 1 15\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":419,"objectID":32276,"title":"pair of candlesticks","accessionNumber":"2007.4415.a,b","geoAssoc":"New Mexico, United States","currLoc":"407, Kress Gallery, 407, W2","alias":"","objectDate":"early 1900s\u20131934","material":"ceramic, paint, burnishing","creditLine":"Gift from the estate of Gertrude W. Green","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78551,"collectionID":3475,"collectionType":"exhibition","description":"Many Native American potters created decorative pieces in typically Euro-American forms to appeal to tourists. How do these candlesticks connect with objects related to light and darkness displayed in the adjacent exhibition Illumination?","displayDescription":"Many Native American potters created decorative pieces in typically Euro-American forms to appeal to tourists. How do these candlesticks connect with objects related to light and darkness displayed in the adjacent exhibition Illumination?"}],"dimensionalData":[{"dimID":97043,"dimensions":"a 14.5 x 9 cm","description":"Object Height\/Diameter"},{"dimID":97044,"dimensions":"a 5 11\/16 x 3 1\/2 in","description":"Object Height\/Diameter"},{"dimID":97045,"dimensions":"b 15 x 9 cm","description":"Object Height\/Diameter"},{"dimID":97046,"dimensions":"b 5 7\/8 x 3 1\/2 in","description":"Object Height\/Diameter"}]},{"id":420,"objectID":33512,"title":"one of a set of five manillas (currency bracelets)","accessionNumber":"2007.3390.01","geoAssoc":"Nigeria","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"late 1800s\u20131963","material":"possibly copper","creditLine":"Gift of Theodore Eaton","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78557,"collectionID":3475,"collectionType":"exhibition","description":"During the 16th century, manillas like these were used as currency by Portuguese slave traders in West Africa. The word manilla originates from the Portuguese word manilha or \u201chand-ring.\u201d The West African slave trade was later dominated by the British, French, and Dutch to populate labor-intensive plantations in the Americas.","displayDescription":"During the 16th century, manillas like these were used as currency by Portuguese slave traders in West Africa. The word manilla originates from the Portuguese word manilha or \u201chand-ring.\u201d The West African slave trade was later dominated by the British, French, and Dutch to populate labor-intensive plantations in the Americas."}],"dimensionalData":[{"dimID":93222,"dimensions":"largest 6 x 6 cm","description":"Object Height\/Width"},{"dimID":93223,"dimensions":"largest 2 3\/8 x 2 3\/8 in","description":"Object Height\/Width"}]},{"id":421,"objectID":34311,"title":"cup","accessionNumber":"2007.0779","geoAssoc":"Amlash county, Gilan Province, Iran","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"1450 BCE\u20131340 BCE","material":"ceramic","creditLine":"Gift of Professor and Mrs. Douglas Hyland","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":95232,"dimensions":"2 15\/16 x 3 3\/4 x 3 1\/8 in","description":"Object Height\/Width\/Depth"},{"dimID":95231,"dimensions":"7.5 x 9.5 x 8 cm","description":"Object Height\/Width\/Depth"}]},{"id":422,"objectID":34359,"title":"weight","accessionNumber":"2007.3391.32","geoAssoc":"Ghana","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"brass","creditLine":"Gift of Mr. and Mrs. H. Kenneth Palmer","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78559,"collectionID":3475,"collectionType":"exhibition","description":"Beginning in the ninth century, Akan-speaking communities of West Africa established a dynamic trade hub that connected populations across the African continent and beyond. To facilitate the exchange of commodities like gold, ivory, salt, and pepper, Akan artisans created brass scoops, scales, and weights like these to measure gold dust. Gold dust was the standardized unit of currency created from the abundant mineral deposits found along what European colonizers would later term the \u201cGold Coast.\u201d","displayDescription":"Beginning in the ninth century, Akan-speaking communities of West Africa established a dynamic trade hub that connected populations across the African continent and beyond. To facilitate the exchange of commodities like gold, ivory, salt, and pepper, Akan artisans created brass scoops, scales, and weights like these to measure gold dust. Gold dust was the standardized unit of currency created from the abundant mineral deposits found along what European colonizers would later term the \u201cGold Coast.\u201d"}],"dimensionalData":[{"dimID":93289,"dimensions":"2.8 x 1.8 cm","description":"Object Length\/Width"},{"dimID":93290,"dimensions":"1 1\/8 x 11\/16 in","description":"Object Length\/Width"}]},{"id":423,"objectID":34937,"title":"jar with Avanyu design","accessionNumber":"2007.4268","geoAssoc":"New Mexico, United States","currLoc":"407, Kress Gallery, 407, W2","alias":"","objectDate":"1970s","material":"ceramic, carving, burnishing","creditLine":"Gift of Forrest E. Jones","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78602,"collectionID":3475,"collectionType":"exhibition","description":"This blackware vessel made by Santa Clara potter Legoria Tafoya illustrates some similarities with San Ildefonso pottery. Both techniques contrast reflective burnished surfaces with areas of matte black, and both depict important mythological beings, such as the water serpent Avanyu seen here. This example also demonstrates one major difference: the use of carving and incising to create three-dimensional designs.","displayDescription":"This blackware vessel made by Santa Clara potter Legoria Tafoya illustrates some similarities with San Ildefonso pottery. Both techniques contrast reflective burnished surfaces with areas of matte black, and both depict important mythological beings, such as the water serpent Avanyu seen here. This example also demonstrates one major difference: the use of carving and incising to create three-dimensional designs."}],"dimensionalData":[{"dimID":96684,"dimensions":"17.5 x 16 cm","description":"Object Height\/Diameter"},{"dimID":96685,"dimensions":"6 7\/8 x 6 1\/4 in","description":"Object Height\/Diameter"}]},{"id":424,"objectID":35442,"title":"jar","accessionNumber":"2007.4414","geoAssoc":"San Ildefonso Pueblo, New Mexico, United States","currLoc":"407, Kress Gallery, 407, W2","alias":"","objectDate":"mid 1900s\u20131943","material":"ceramic, paint, burnishing","creditLine":"Source unknown","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78572,"collectionID":3475,"collectionType":"exhibition","description":"Like many Pueblo artists, Maria Martinez worked with her family and transmitted her artistic skills and knowledge to subsequent generations, many of whom are represented in this case. Her original collaborator was her husband Julian Martinez. Their division of labor was fairly fixed: Maria shaped and burnished the pieces and Julian painted the surface designs.","displayDescription":"Like many Pueblo artists, Maria Martinez worked with her family and transmitted her artistic skills and knowledge to subsequent generations, many of whom are represented in this case. Her original collaborator was her husband Julian Martinez. Their division of labor was fairly fixed: Maria shaped and burnished the pieces and Julian painted the surface designs."}],"dimensionalData":[{"dimID":97041,"dimensions":"17.5 x 24 cm","description":"Object Height\/Diameter"},{"dimID":97042,"dimensions":"6 7\/8 x 9 7\/16 in","description":"Object Height\/Diameter"}]},{"id":425,"objectID":35710,"title":"wedding vase","accessionNumber":"2007.4390","geoAssoc":"New Mexico, United States","currLoc":"407, Kress Gallery, 407, W2","alias":"","objectDate":"early 1900s\u20131988","material":"ceramic, carving, burnishing, impressing","creditLine":"Gift of Margaret L. Hoopes","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":96991,"dimensions":"16 x 14 x 8.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":96992,"dimensions":"6 1\/4 x 5 1\/2 x 3 3\/8 in","description":"Object Height\/Width\/Depth"}]},{"id":426,"objectID":37444,"title":"teapot","accessionNumber":"2007.4393","geoAssoc":"Santa Clara Pueblo, New Mexico, United States","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"late 1800s\u20131992","material":"ceramic, burnishing","creditLine":"The Father Felix Nolte Collection from the Benedictine College Museum","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":96997,"dimensions":"18 x 21.5 x 23.5 cm","description":"Object Height\/Width\/Length"},{"dimID":96998,"dimensions":"7 1\/16 x 8 7\/16 x 9 1\/4 in","description":"Object Height\/Width\/Length"}]},{"id":427,"objectID":37818,"title":"sand painting depicting sun and eagle","accessionNumber":"2007.7026","geoAssoc":"United States","currLoc":"407, Kress Gallery, 407, E3","alias":"","objectDate":"late 1900s\u20131994","material":"wood, sand, pigment","creditLine":"Gift of Carol Chavez","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78415,"collectionID":3473,"collectionType":"exhibition","description":"Din\u00e9 (Navajo) sand paintings are made using dry sand that is colored using natural pigments. Sand paintings are formed by lightly sprinkling sand particles onto a board or another surface and are often temporary in nature. Sand paintings are known and created for their healing and restorative powers. This particular design portraying the sun and eagle was used for healing an unwell child.","displayDescription":"Din\u00e9 (Navajo) sand paintings are made using dry sand that is colored using natural pigments. Sand paintings are formed by lightly sprinkling sand particles onto a board or another surface and are often temporary in nature. Sand paintings are known and created for their healing and restorative powers. This particular design portraying the sun and eagle was used for healing an unwell child."}],"dimensionalData":[{"dimID":170197,"dimensions":"30.5 x 30.5 x 1 cm","description":"Object Height\/Width\/Depth"},{"dimID":170198,"dimensions":"12 x 12 x 3\/8 in","description":"Object Height\/Width\/Depth"},{"dimID":170437,"dimensions":"17 x 17 x 1 1\/2 in","description":"Frame Dimensions"}]},{"id":428,"objectID":37841,"title":"vase","accessionNumber":"2007.4631","geoAssoc":"San Ildefonso Pueblo, New Mexico, United States","currLoc":"407, Kress Gallery, 407, W2","alias":"","objectDate":"1915\u20131930","material":"ceramic, burnishing","creditLine":"Gift of Eva F. Bennett","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78580,"collectionID":3475,"collectionType":"exhibition","description":"San Ildefonso potter Maria Martinez is widely credited with reinvigorating blackware pottery after archaeologist Edgar Lee Hewett sought her help recreating colors and textures observed in ancestral sherds or excavated pottery fragments. The modern aesthetic of the burnished black pots appealed to contemporary collectors and helped establish San Ildefonso as a center for Native American ceramics.","displayDescription":"San Ildefonso potter Maria Martinez is widely credited with reinvigorating blackware pottery after archaeologist Edgar Lee Hewett sought her help recreating colors and textures observed in ancestral sherds or excavated pottery fragments. The modern aesthetic of the burnished black pots appealed to contemporary collectors and helped establish San Ildefonso as a center for Native American ceramics."}],"dimensionalData":[{"dimID":97526,"dimensions":"10 1\/4 x 6 7\/8 in","description":"Object Height\/Diameter"},{"dimID":97525,"dimensions":"26 x 17.5 cm","description":"Object Height\/Diameter"}]},{"id":429,"objectID":38863,"title":"one of a set of two buttons made from nickels","accessionNumber":"2007.0452.01","geoAssoc":"United States","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"1936\u20131956","material":"silver, copper","creditLine":"Gift of Ann and Britt Brown, Blackbear Bosin Collection","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78598,"collectionID":3475,"collectionType":"exhibition","description":"When Din\u00e9 artists began silversmithing in the 1800s, they replaced bone, stone, and shell buttons with domed silver ones. They often repurposed silver coins, like these \u201cIndian head\u201d nickels minted in 1936 and 1937, to create decorative buttons. These small objects reference many themes in this exhibition: artistic process and creativity, repurposing materials, commodification and exchange, and the complex impacts of colonialism on Indigenous populations and natural resources.","displayDescription":"When Din\u00e9 artists began silversmithing in the 1800s, they replaced bone, stone, and shell buttons with domed silver ones. They often repurposed silver coins, like these \u201cIndian head\u201d nickels minted in 1936 and 1937, to create decorative buttons. These small objects reference many themes in this exhibition: artistic process and creativity, repurposing materials, commodification and exchange, and the complex impacts of colonialism on Indigenous populations and natural resources."}],"dimensionalData":[{"dimID":90610,"dimensions":"3\/16 x 13\/16 in","description":"Object Height\/Diameter"},{"dimID":90609,"dimensions":"0.5 x 2 cm","description":"Object Height\/Diameter"}]},{"id":430,"objectID":39278,"title":"sugar bowl with lid","accessionNumber":"2007.4661.a,b","geoAssoc":"Mexico","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"late 1800s\u20131998","material":"ceramic, glaze","creditLine":"The Father Felix Nolte Collection from the Benedictine College Museum","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78601,"collectionID":3475,"collectionType":"exhibition","description":"From the 1500s through the early 1800s, sugar was one of the most prized and lucrative European imports. It was also a significant driver of the transatlantic slave trade. Captured Africans were shipped to Caribbean Islands to harvest sugar on plantations, which would be processed and shipped to New England and elsewhere. These decorative bowls speak to growing appetites for sugar and prompt you to consider how sugar was obtained\u2014and at what cost?","displayDescription":"From the 1500s through the early 1800s, sugar was one of the most prized and lucrative European imports. It was also a significant driver of the transatlantic slave trade. Captured Africans were shipped to Caribbean Islands to harvest sugar on plantations, which would be processed and shipped to New England and elsewhere. These decorative bowls speak to growing appetites for sugar and prompt you to consider how sugar was obtained\u2014and at what cost?"}],"dimensionalData":[{"dimID":97603,"dimensions":"measured together 4 7\/8 x 3 7\/8 in","description":"Object Height\/Diameter"},{"dimID":97602,"dimensions":"measured together 12.5 x 10 cm","description":"Object Height\/Diameter"}]},{"id":431,"objectID":41807,"title":"equestrian warrior roof finial","accessionNumber":"1928.1467.b","geoAssoc":"China","currLoc":"401, Loo Gallery, 401, E1","alias":"","objectDate":"1600s, Ming dynasty (1368\u20131644)","material":"stoneware, glaze","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":170254,"dimensions":"39 x 26 x 13.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":170257,"dimensions":"15 3\/8 x 10 1\/4 x 5 5\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":432,"objectID":41883,"title":"beer pot","accessionNumber":"2020.0121","geoAssoc":"South Africa","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"1925\u20131990","material":"ceramic, appliqu\u00e9","creditLine":"Anonymous gift","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":83054,"dimensions":"16.5 x 22 cm","description":"Object Height\/Diameter"},{"dimID":163000,"dimensions":"6 1\/2 x 8 11\/16 in","description":"Object Height\/Diameter"}]},{"id":433,"objectID":41914,"title":"pot","accessionNumber":"2020.0151","geoAssoc":"Nigeria","currLoc":"406, Stewart Gallery, 406, E3","alias":"","objectDate":"1925\u20131990","material":"ceramic, incising, impressing, appliqu\u00e9","creditLine":"Anonymous gift","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78604,"collectionID":3475,"collectionType":"exhibition","description":"Until the latter part of the 20th century, most mainstream museums displayed African objects as ethnographic specimens or \u201cprimitive\u201d curiosities. Even after museums began sharing African art, ceramics remained relatively underrepresented despite longstanding pottery-making traditions throughout the continent. These four monumental examples are part of the Spencer Museum\u2019s collection of more than 2,000 works of art by African artists in a variety of mediums.","displayDescription":"Until the latter part of the 20th century, most mainstream museums displayed African objects as ethnographic specimens or \u201cprimitive\u201d curiosities. Even after museums began sharing African art, ceramics remained relatively underrepresented despite longstanding pottery-making traditions throughout the continent. These four monumental examples are part of the Spencer Museum\u2019s collection of more than 2,000 works of art by African artists in a variety of mediums."}],"dimensionalData":[{"dimID":91755,"dimensions":"36.5 x 38 cm","description":"Object Height\/Diameter"},{"dimID":91756,"dimensions":"14 3\/8 x 14 15\/16 in","description":"Object Height\/Diameter"}]},{"id":434,"objectID":41915,"title":"large pot","accessionNumber":"2020.0152","geoAssoc":"Nigeria","currLoc":"406, Stewart Gallery, 406, E3","alias":"","objectDate":"1925\u20131990","material":"ceramic, incising, impressing, appliqu\u00e9","creditLine":"Anonymous gift","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78605,"collectionID":3475,"collectionType":"exhibition","description":"Until the latter part of the 20th century, most mainstream museums displayed African objects as ethnographic specimens or \u201cprimitive\u201d curiosities. Even after museums began sharing African art, ceramics remained relatively underrepresented despite longstanding pottery-making traditions throughout the continent. These four monumental examples are part of the Spencer Museum\u2019s collection of more than 2,000 works of art by African artists in a variety of mediums.","displayDescription":"Until the latter part of the 20th century, most mainstream museums displayed African objects as ethnographic specimens or \u201cprimitive\u201d curiosities. Even after museums began sharing African art, ceramics remained relatively underrepresented despite longstanding pottery-making traditions throughout the continent. These four monumental examples are part of the Spencer Museum\u2019s collection of more than 2,000 works of art by African artists in a variety of mediums."}],"dimensionalData":[{"dimID":83116,"dimensions":"54 x 49 cm","description":"Object Height\/Diameter"},{"dimID":162856,"dimensions":"21 1\/4 x 19 5\/16 in","description":"Object Height\/Diameter"}]},{"id":435,"objectID":41927,"title":"pot","accessionNumber":"2020.0164","geoAssoc":"Ghana","currLoc":"406, Stewart Gallery, 406, E3","alias":"","objectDate":"1925\u20131990","material":"ceramic, appliqu\u00e9, impressing","creditLine":"Anonymous gift","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78606,"collectionID":3475,"collectionType":"exhibition","description":"Until the latter part of the 20th century, most mainstream museums displayed African objects as ethnographic specimens or \u201cprimitive\u201d curiosities. Even after museums began sharing African art, ceramics remained relatively underrepresented despite longstanding pottery-making traditions throughout the continent. These four monumental examples are part of the Spencer Museum\u2019s collection of more than 2,000 works of art by African artists in a variety of mediums.","displayDescription":"Until the latter part of the 20th century, most mainstream museums displayed African objects as ethnographic specimens or \u201cprimitive\u201d curiosities. Even after museums began sharing African art, ceramics remained relatively underrepresented despite longstanding pottery-making traditions throughout the continent. These four monumental examples are part of the Spencer Museum\u2019s collection of more than 2,000 works of art by African artists in a variety of mediums."}],"dimensionalData":[{"dimID":91757,"dimensions":"41 x 42 cm","description":"Object Height\/Diameter"},{"dimID":91758,"dimensions":"16 1\/8 x 16 1\/2 in","description":"Object Height\/Diameter"}]},{"id":436,"objectID":41928,"title":"pot","accessionNumber":"2020.0165","geoAssoc":"Cameroon or Chad","currLoc":"406, Stewart Gallery, 406, E3","alias":"","objectDate":"1925\u20131990","material":"ceramic, appliqu\u00e9, impressing","creditLine":"Anonymous gift","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78607,"collectionID":3475,"collectionType":"exhibition","description":"Until the latter part of the 20th century, most mainstream museums displayed African objects as ethnographic specimens or \u201cprimitive\u201d curiosities. Even after museums began sharing African art, ceramics remained relatively underrepresented despite longstanding pottery-making traditions throughout the continent. These four monumental examples are part of the Spencer Museum\u2019s collection of more than 2,000 works of art by African artists in a variety of mediums.","displayDescription":"Until the latter part of the 20th century, most mainstream museums displayed African objects as ethnographic specimens or \u201cprimitive\u201d curiosities. Even after museums began sharing African art, ceramics remained relatively underrepresented despite longstanding pottery-making traditions throughout the continent. These four monumental examples are part of the Spencer Museum\u2019s collection of more than 2,000 works of art by African artists in a variety of mediums."}],"dimensionalData":[{"dimID":162854,"dimensions":"22 13\/16 x 18 1\/2 in","description":"Object Height\/Diameter"},{"dimID":83142,"dimensions":"58 x 47 cm","description":"Object Height\/Diameter"}]},{"id":437,"objectID":42690,"title":"tomb tile","accessionNumber":"2009.0125","geoAssoc":"Sichuan, China","currLoc":"401, Loo Gallery, 401, W2","alias":"","objectDate":"circa 200 CE, Eastern Han dynasty (25 CE\u2013220 CE)","material":"earthenware, molding","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund","exhibition":[{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78501,"collectionID":3474,"collectionType":"exhibition","description":"Tomb tiles such as this one lined the walls of Han-dynasty underground mausoleums in the Sichuan province of China. Covered with depictions of everyday life, the tiles were intended to furnish tombs of the deceased and provide comfort in the afterlife.","displayDescription":"Tomb tiles such as this one lined the walls of Han-dynasty underground mausoleums in the Sichuan province of China. Covered with depictions of everyday life, the tiles were intended to furnish tombs of the deceased and provide comfort in the afterlife."}],"dimensionalData":[{"dimID":94275,"dimensions":"38 x 39 x 5.2 cm","description":"Object Height\/Width\/Depth"},{"dimID":94276,"dimensions":"14 15\/16 x 15 3\/8 x 2 1\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":438,"objectID":42985,"title":"Napol\u00e9on","accessionNumber":"2010.0028.01,2","geoAssoc":"Paris, France","currLoc":"407, Kress Gallery, 407, E1","alias":"","objectDate":"2009","material":"single-channel video, 2 minutes 7 seconds","creditLine":"Museum purchase","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78441,"collectionID":3473,"collectionType":"exhibition","description":"Izumi Tar\u014d uses a combination of his body, technology, and space to create playful videos that transform everyday experiences into whimsical encounters. In Napol\u00e9on Izumi shares his discovery of Paris, in which he attempts to possess the city\u2019s sights and people by capturing them with his camera and transforming them into sketches on his hand.","displayDescription":"Izumi Tar\u014d uses a combination of his body, technology, and space to create playful videos that transform everyday experiences into whimsical encounters. In Napol\u00e9on Izumi shares his discovery of Paris, in which he attempts to possess the city\u2019s sights and people by capturing them with his camera and transforming them into sketches on his hand."}],"dimensionalData":[]},{"id":439,"objectID":43107,"title":"Still Life 02 - Orchid","accessionNumber":"2010.0068.01.a","geoAssoc":"Taiwan","currLoc":"407, Kress Gallery, 407, W3","alias":"","objectDate":"2009","material":"single-channel HD video, 4 minutes 22 seconds","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[]},{"id":440,"objectID":43353,"title":"Still Life 02 - Orchid","accessionNumber":"2010.0068.01.b","geoAssoc":"Taiwan","currLoc":"407, Kress Gallery, 407, W3","alias":"","objectDate":"2009","material":"paper","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78458,"collectionID":3473,"collectionType":"exhibition","description":"The long slender leaves of the orchid are a favorite subject in East Asian ink painting. Using the medium of video, Wu Chi-Tsung depicts a delicate orchid to examine the passage of time, creating images that confront and even subvert speed. This work illustrates the stillness of the orchid while also allowing us to escape the quickening pace of life and settle into the steady rhythms of nature.","displayDescription":"The long slender leaves of the orchid are a favorite subject in East Asian ink painting. Using the medium of video, Wu Chi-Tsung depicts a delicate orchid to examine the passage of time, creating images that confront and even subvert speed. This work illustrates the stillness of the orchid while also allowing us to escape the quickening pace of life and settle into the steady rhythms of nature."}],"dimensionalData":[{"dimID":101255,"dimensions":"140 1\/8 x 24 9\/16 in","description":"Sheet\/Paper Dimensions"},{"dimID":101254,"dimensions":"356 x 62.4 cm","description":"Sheet\/Paper Dimensions"}]},{"id":441,"objectID":43573,"title":"Chado","accessionNumber":"2011.0015","geoAssoc":"United States","currLoc":"406, Stewart Gallery, 406, W2","alias":"","objectDate":"2010","material":"glass, casting","creditLine":"Museum purchase: Gift of Hope Talbot and Helen Foresman Spencer Art Acquisition Fund\r\nPhotographer: Martin Polak \/ \u00a9 Karen LaMonte 2010","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78612,"collectionID":3475,"collectionType":"exhibition","description":"The kimono, traditionally worn by people of all genders in Japan, is modeled here to evoke a female Asian body. Karen LaMonte produced Chado using a double casting process, first making a body mold from a live woman, then creating another mold of a kimono to enclose the cast body. The result is a hollow, semi-translucent garment.\r\n\r\nThe pose of this sculpture\u2014kneeling with arms outstretched\u2014references a serving gesture made by women during a Japanese tea ceremony known as chad\u014d. Karen LaMonte's interpretation of this submissive body language engages the long history of Euro-American artists stereotyping geisha\u2014female artists, companions, and entertainers trained in Japanese dance, music, song, and performance. How does this placement of Chado among objects from other cultures uphold, challenge, or interrupt these stereotypes?\r\n\r\nOur ability to simultaneously see and see through the colorless glass makes the material an especially rich metaphorical device. The translucency of Karen LaMonte\u2019s cast sculpture alludes to memory and absence of the implied body. The artist spent seven months in Japan studying all aspects of the kimono\u2014from weaving and construction, to ceremonial function and historic meaning.\r\n\r\n\u2013 Carolyn Swan Needell, Carolyn and Richard Barry Curator of Glass, Chrysler Museum of Art","displayDescription":"The kimono, traditionally worn by people of all genders in Japan, is modeled here to evoke a female Asian body. Karen LaMonte produced Chado using a double casting process, first making a body mold from a live woman, then creating another mold of a kimono to enclose the cast body. The result is a hollow, semi-translucent garment.\r\n\r\nThe pose of this sculpture\u2014kneeling with arms outstretched\u2014references a serving gesture made by women during a Japanese tea ceremony known as chad\u014d. Karen LaMonte's interpretation of this submissive body language engages the long history of Euro-American artists stereotyping geisha\u2014female artists, companions, and entertainers trained in Japanese dance, music, song, and performance. How does this placement of Chado among objects from other cultures uphold, challenge, or interrupt these stereotypes?\r\n\r\nOur ability to simultaneously see and see through the colorless glass makes the material an especially rich metaphorical device. The translucency of Karen LaMonte\u2019s cast sculpture alludes to memory and absence of the implied body. The artist spent seven months in Japan studying all aspects of the kimono\u2014from weaving and construction, to ceremonial function and historic meaning.\r\n\r\n\u2013 Carolyn Swan Needell, Carolyn and Richard Barry Curator of Glass, Chrysler Museum of Art"}],"dimensionalData":[{"dimID":157623,"dimensions":"18 3\/4 x 38 x 44 in black base","description":"Mount Dimensions"},{"dimID":170391,"dimensions":"98 x 80 x 92 cm","description":"Object Height\/Width\/Depth"},{"dimID":170392,"dimensions":"38 9\/16 x 31 1\/2 x 36 1\/4 in","description":"Object Height\/Width\/Depth"}]},{"id":442,"objectID":43685,"title":"Displaced Peoples 2","accessionNumber":"2012.0010","geoAssoc":"New Mexico, United States","currLoc":"401, Loo Gallery, 401, E3","alias":"","objectDate":"2011","material":"acrylic, wood panel","creditLine":"Museum purchase: Peter T. Bohan Art Acquisition Fund","exhibition":[{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78486,"collectionID":3474,"collectionType":"exhibition","description":"These maps of present-day Kansas and Oklahoma reference the removal and relocation events of the Central Plains in what became Indian Territory west of Arkansas and Missouri. The figures are depicted in a distorted fishbowl perspective of a globe, drawing connections between forced geographic displacement and its inevitable and harmful impacts on culture and identity worldwide. How does this work connect with ideas about land acknowledgement found in this gallery?","displayDescription":"These maps of present-day Kansas and Oklahoma reference the removal and relocation events of the Central Plains in what became Indian Territory west of Arkansas and Missouri. The figures are depicted in a distorted fishbowl perspective of a globe, drawing connections between forced geographic displacement and its inevitable and harmful impacts on culture and identity worldwide. How does this work connect with ideas about land acknowledgement found in this gallery?"}],"dimensionalData":[{"dimID":103324,"dimensions":"46 1\/4 x 35 1\/4 x 1 in","description":"Frame Dimensions"},{"dimID":103323,"dimensions":"43 1\/4 x 32 1\/4 in","description":"Canvas\/Support"},{"dimID":97650,"dimensions":"110 x 82 cm","description":"Canvas\/Support"}]},{"id":443,"objectID":43807,"title":"maquette for two metal sculptures","accessionNumber":"2011.0147","geoAssoc":"United States","currLoc":"406, Stewart Gallery, 406, C2","alias":"","objectDate":"circa 1970s","material":"steel, welding","creditLine":"Gift from the Jedel Family Foundation","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78613,"collectionID":3475,"collectionType":"exhibition","description":"These three maquettes, or models, each capture a single moment in an artist\u2019s creative process. Working in a smaller scale allowed Harry Bertoia, Dale Eldred, and Henry Moore to experiment with arrangement, position, and composition in three dimensions before committing to a full-scale sculpture.","displayDescription":"These three maquettes, or models, each capture a single moment in an artist\u2019s creative process. Working in a smaller scale allowed Harry Bertoia, Dale Eldred, and Henry Moore to experiment with arrangement, position, and composition in three dimensions before committing to a full-scale sculpture."}],"dimensionalData":[{"dimID":113231,"dimensions":"41 x 58 x 38 cm","description":"Object Height\/Width\/Depth"},{"dimID":113232,"dimensions":"16 1\/8 x 22 13\/16 x 14 15\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":444,"objectID":43829,"title":"currency (Kissi penny)","accessionNumber":"2011.0164","geoAssoc":"Freetown, Sierra Leone","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"1975","material":"iron","creditLine":"Gift of Professor Beverly Mack","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78614,"collectionID":3475,"collectionType":"exhibition","description":"These iron Kissi penny functioned as currency among the Kissi of present-day Liberia and Sierra Leone from approximately 1880\u20131940. While Kissi pennies could be used in transactions, they were also exchanged for coins and paper notes, which became the standard for trade in the latter part of the 20th century. These examples were purchased in 1975 by University of Kansas Professor Emerita Beverly Mack.","displayDescription":"These iron Kissi penny functioned as currency among the Kissi of present-day Liberia and Sierra Leone from approximately 1880\u20131940. While Kissi pennies could be used in transactions, they were also exchanged for coins and paper notes, which became the standard for trade in the latter part of the 20th century. These examples were purchased in 1975 by University of Kansas Professor Emerita Beverly Mack."}],"dimensionalData":[{"dimID":99948,"dimensions":"30 x 3 cm","description":"Object Length\/Width"},{"dimID":99949,"dimensions":"11 3\/4 x 1 1\/8 in","description":"Object Length\/Width"}]},{"id":445,"objectID":43830,"title":"currency (Kissi penny)","accessionNumber":"2011.0163","geoAssoc":"Freetown, Sierra Leone","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"1975","material":"iron","creditLine":"Gift of Professor Beverly Mack","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78615,"collectionID":3475,"collectionType":"exhibition","description":"These iron Kissi penny functioned as currency among the Kissi of present-day Liberia and Sierra Leone from approximately 1880\u20131940. While Kissi pennies could be used in transactions, they were also exchanged for coins and paper notes, which became the standard for trade in the latter part of the 20th century. These examples were purchased in 1975 by University of Kansas Professor Emerita Beverly Mack.","displayDescription":"These iron Kissi penny functioned as currency among the Kissi of present-day Liberia and Sierra Leone from approximately 1880\u20131940. While Kissi pennies could be used in transactions, they were also exchanged for coins and paper notes, which became the standard for trade in the latter part of the 20th century. These examples were purchased in 1975 by University of Kansas Professor Emerita Beverly Mack."}],"dimensionalData":[{"dimID":99946,"dimensions":"25 x 3.5 cm","description":"Object Length\/Width"},{"dimID":99947,"dimensions":"9 13\/16 x 1 3\/8 in","description":"Object Length\/Width"}]},{"id":446,"objectID":43831,"title":"gold weight","accessionNumber":"2011.0165","geoAssoc":"Ghana","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"possibly brass","creditLine":"Gift of Professor Beverly Mack","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78616,"collectionID":3475,"collectionType":"exhibition","description":"Beginning in the ninth century, Akan-speaking communities of West Africa established a dynamic trade hub that connected populations across the African continent and beyond. To facilitate the exchange of commodities like gold, ivory, salt, and pepper, Akan artisans created brass scoops, scales, and weights like these to measure gold dust. Gold dust was the standardized unit of currency created from the abundant mineral deposits found along what European colonizers would later term the \u201cGold Coast.\u201d","displayDescription":"Beginning in the ninth century, Akan-speaking communities of West Africa established a dynamic trade hub that connected populations across the African continent and beyond. To facilitate the exchange of commodities like gold, ivory, salt, and pepper, Akan artisans created brass scoops, scales, and weights like these to measure gold dust. Gold dust was the standardized unit of currency created from the abundant mineral deposits found along what European colonizers would later term the \u201cGold Coast.\u201d"}],"dimensionalData":[{"dimID":100365,"dimensions":"4 x 1 x 6.5 cm","description":"Object Height\/Width\/Length"},{"dimID":100366,"dimensions":"1 9\/16 x 3\/8 x 2 1\/2 in","description":"Object Height\/Width\/Length"}]},{"id":447,"objectID":43919,"title":"Sea Goddesses","accessionNumber":"2011.0284","geoAssoc":"Haiti","currLoc":"401, Loo Gallery, 401, W2","alias":"","objectDate":"1972\u20131976","material":"recycled steel oil drum","creditLine":"Mary Lou Vansant Hughes Collection","exhibition":[{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78512,"collectionID":3474,"collectionType":"exhibition","description":"These sea goddesses may reference Erzulie, a Voudou lwa (spirit) associated with water, love, and femininity. They could also represent Mami Wata, a water spirit venerated in parts of Africa and in the African diaspora in the Americas. As Serge Jolimeau transforms a steel drum once used to transport oil or other products into a work of art, the art from diasporas transforms inspiration from many global religions and cultures to create something new.","displayDescription":"These sea goddesses may reference Erzulie, a Voudou lwa (spirit) associated with water, love, and femininity. They could also represent Mami Wata, a water spirit venerated in parts of Africa and in the African diaspora in the Americas. As Serge Jolimeau transforms a steel drum once used to transport oil or other products into a work of art, the art from diasporas transforms inspiration from many global religions and cultures to create something new."}],"dimensionalData":[{"dimID":171913,"dimensions":"60 1\/4 x 60 1\/4 in","description":"Object Height\/Width"},{"dimID":171911,"dimensions":"153 x 153 cm","description":"Object Height\/Width"}]},{"id":448,"objectID":43920,"title":"Siren","accessionNumber":"2011.0285","geoAssoc":"Haiti","currLoc":"406, Stewart Gallery, 406, W3","alias":"","objectDate":"1972\u20131976","material":"recycled steel drum","creditLine":"Mary Lou Vansant Hughes Collection","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78617,"collectionID":3475,"collectionType":"exhibition","description":"Serge Jolimeau transformed a castoff steel drum, likely used to hold oil, into this sculpture of Lasiren, an important lwa (spirit) in Haitian religion. A rusted industrial container hanging in an art museum raises questions about commercialization, commodification, and consumption. How did artistic intervention change the value of the steel barrel? How does the global demand for fuel affect our environment and health?\r\n \r\nThis metal sculpture is one of more than 100 works of 20th-century Haitian art at the Spencer Museum. This area of our collection grew in 2011 when University of Kansas alumna and Spencer docent Mary Lou Vansant Hughes donated paintings, prints, and sculptures that she and her husband Harry purchased while living in Haiti in the 1970s. \r\n\r\nSerge Jolimeau\u2019s metal sculpture depicts Lasiren, a prominent lwa (spirit) in Haitian Vodou mythology. As supreme ruler of the ocean, Lasiren serves as a portal between ocean and land as well as the material and spiritual worlds. Lasiren also symbolizes fluidity, knowledge, and power. Her half-human, half-fish form has long been used by artists to reference sexuality, religion, and the experiences of enslavement and adapting to new places. \r\n\r\n\u2013 C\u00e9cile Accilien, Chair of the Department of Interdisciplinary Studies and Professor of African and African Diaspora Studies, Kennesaw State University","displayDescription":"Serge Jolimeau transformed a castoff steel drum, likely used to hold oil, into this sculpture of Lasiren, an important lwa (spirit) in Haitian religion. A rusted industrial container hanging in an art museum raises questions about commercialization, commodification, and consumption. How did artistic intervention change the value of the steel barrel? How does the global demand for fuel affect our environment and health?\r\n \r\nThis metal sculpture is one of more than 100 works of 20th-century Haitian art at the Spencer Museum. This area of our collection grew in 2011 when University of Kansas alumna and Spencer docent Mary Lou Vansant Hughes donated paintings, prints, and sculptures that she and her husband Harry purchased while living in Haiti in the 1970s. \r\n\r\nSerge Jolimeau\u2019s metal sculpture depicts Lasiren, a prominent lwa (spirit) in Haitian Vodou mythology. As supreme ruler of the ocean, Lasiren serves as a portal between ocean and land as well as the material and spiritual worlds. Lasiren also symbolizes fluidity, knowledge, and power. Her half-human, half-fish form has long been used by artists to reference sexuality, religion, and the experiences of enslavement and adapting to new places. \r\n\r\n\u2013 C\u00e9cile Accilien, Chair of the Department of Interdisciplinary Studies and Professor of African and African Diaspora Studies, Kennesaw State University"}],"dimensionalData":[{"dimID":99714,"dimensions":"60.5 x 3 cm","description":"Object Diameter\/Depth"},{"dimID":100681,"dimensions":"23 13\/16 x 1 3\/16 in","description":"Object Diameter\/Depth"}]},{"id":449,"objectID":43936,"title":"Woman Leading a Blind Man","accessionNumber":"2011.0301","geoAssoc":"Haiti","currLoc":"407, Kress Gallery, 407, E3","alias":"","objectDate":"circa 1970","material":"paint, hardboard","creditLine":"Mary Lou Vansant Hughes Collection","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78444,"collectionID":3473,"collectionType":"exhibition","description":"Penius Leriche\u2019s painting highlights everyday life in Haiti, acts of kindness, and the role women play in society. This painting is perhaps also a commentary on vision\u2014the two figures are enveloped by a vibrant landscape full of vivid flora, yet the man is blind and the woman is focused on crossing a stream.","displayDescription":"Penius Leriche\u2019s painting highlights everyday life in Haiti, acts of kindness, and the role women play in society. This painting is perhaps also a commentary on vision\u2014the two figures are enveloped by a vibrant landscape full of vivid flora, yet the man is blind and the woman is focused on crossing a stream."}],"dimensionalData":[{"dimID":100182,"dimensions":"48 1\/16 x 23 5\/8 in","description":"Canvas\/Support"},{"dimID":100183,"dimensions":"49 1\/2 x 25 1\/2 x 3\/4 in","description":"Frame Dimensions"},{"dimID":99731,"dimensions":"122 x 60 cm","description":"Canvas\/Support"}]},{"id":450,"objectID":43956,"title":"but...I dreamt","accessionNumber":"2011.0320","geoAssoc":"Haiti","currLoc":"407, Kress Gallery, 407, E1","alias":"","objectDate":"circa 1975","material":"paint, hardboard","creditLine":"Mary Lou Vansant Hughes Collection","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78428,"collectionID":3473,"collectionType":"exhibition","description":"Have you ever had a dream that you were flying? In this painting by Haitian artist Ernst Proph\u00e8te, a human figure is carried into the sky by two winged figures, rising above the rooftops into the luminous atmosphere above.","displayDescription":"Have you ever had a dream that you were flying? In this painting by Haitian artist Ernst Proph\u00e8te, a human figure is carried into the sky by two winged figures, rising above the rooftops into the luminous atmosphere above."}],"dimensionalData":[{"dimID":100404,"dimensions":"16 1\/8 x 20 1\/2 in","description":"Canvas\/Support"},{"dimID":100405,"dimensions":"17 1\/2 x 21 3\/4 in","description":"Frame Dimensions"},{"dimID":99751,"dimensions":"41 x 52 cm","description":"Canvas\/Support"}]},{"id":451,"objectID":43978,"title":"gold weight","accessionNumber":"2011.0166","geoAssoc":"Ghana","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"possibly brass","creditLine":"Gift of Professor Beverly Mack","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78618,"collectionID":3475,"collectionType":"exhibition","description":"Beginning in the ninth century, Akan-speaking communities of West Africa established a dynamic trade hub that connected populations across the African continent and beyond. To facilitate the exchange of commodities like gold, ivory, salt, and pepper, Akan artisans created brass scoops, scales, and weights like these to measure gold dust. Gold dust was the standardized unit of currency created from the abundant mineral deposits found along what European colonizers would later term the \u201cGold Coast.\u201d","displayDescription":"Beginning in the ninth century, Akan-speaking communities of West Africa established a dynamic trade hub that connected populations across the African continent and beyond. To facilitate the exchange of commodities like gold, ivory, salt, and pepper, Akan artisans created brass scoops, scales, and weights like these to measure gold dust. Gold dust was the standardized unit of currency created from the abundant mineral deposits found along what European colonizers would later term the \u201cGold Coast.\u201d"}],"dimensionalData":[{"dimID":100367,"dimensions":"5 x 2.5 cm","description":"Object Length\/Width"},{"dimID":100368,"dimensions":"1 15\/16 x 1 in","description":"Object Length\/Width"}]},{"id":452,"objectID":43980,"title":"gold weight","accessionNumber":"2011.0168","geoAssoc":"Ghana","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"brass","creditLine":"Gift of Professor Beverly Mack","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78620,"collectionID":3475,"collectionType":"exhibition","description":"Beginning in the ninth century, Akan-speaking communities of West Africa established a dynamic trade hub that connected populations across the African continent and beyond. To facilitate the exchange of commodities like gold, ivory, salt, and pepper, Akan artisans created brass scoops, scales, and weights like these to measure gold dust. Gold dust was the standardized unit of currency created from the abundant mineral deposits found along what European colonizers would later term the \u201cGold Coast.\u201d","displayDescription":"Beginning in the ninth century, Akan-speaking communities of West Africa established a dynamic trade hub that connected populations across the African continent and beyond. To facilitate the exchange of commodities like gold, ivory, salt, and pepper, Akan artisans created brass scoops, scales, and weights like these to measure gold dust. Gold dust was the standardized unit of currency created from the abundant mineral deposits found along what European colonizers would later term the \u201cGold Coast.\u201d"}],"dimensionalData":[{"dimID":100373,"dimensions":"3\/8 x 7\/8 x 1 15\/16 in","description":"Object Height\/Width\/Length"},{"dimID":100371,"dimensions":"1 x 2.25 x 5 cm","description":"Object Height\/Width\/Length"}]},{"id":453,"objectID":43981,"title":"gold weight","accessionNumber":"2011.0169","geoAssoc":"Ghana","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"possibly brass","creditLine":"Gift of Professor Beverly Mack","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78621,"collectionID":3475,"collectionType":"exhibition","description":"Beginning in the ninth century, Akan-speaking communities of West Africa established a dynamic trade hub that connected populations across the African continent and beyond. To facilitate the exchange of commodities like gold, ivory, salt, and pepper, Akan artisans created brass scoops, scales, and weights like these to measure gold dust. Gold dust was the standardized unit of currency created from the abundant mineral deposits found along what European colonizers would later term the \u201cGold Coast.\u201d","displayDescription":"Beginning in the ninth century, Akan-speaking communities of West Africa established a dynamic trade hub that connected populations across the African continent and beyond. To facilitate the exchange of commodities like gold, ivory, salt, and pepper, Akan artisans created brass scoops, scales, and weights like these to measure gold dust. Gold dust was the standardized unit of currency created from the abundant mineral deposits found along what European colonizers would later term the \u201cGold Coast.\u201d"}],"dimensionalData":[{"dimID":100390,"dimensions":"0.5 x 2 x 4.25 cm","description":"Object Height\/Width\/Length"},{"dimID":100391,"dimensions":"3\/16 x 3\/4 x 1 5\/8 in","description":"Object Height\/Width\/Length"}]},{"id":454,"objectID":44633,"title":"teapot with lid","accessionNumber":"2012.0158.a,b","geoAssoc":"Nigeria","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"1954\u20131979","material":"ceramic, glaze","creditLine":"Gift of Dr. Beverly Mack","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78622,"collectionID":3475,"collectionType":"exhibition","description":"Ladi Kwali grew up creating traditional Nigerian earthenware pottery using centuries-old construction and decorative techniques. In 1954, she joined the Pottery Training Centre in Abuja, present-day Suleja, where she learned global pottery traditions. Kwali quickly became one of Nigeria\u2019s first female potters whose work was admired as fine art rather than functional objects.","displayDescription":"Ladi Kwali grew up creating traditional Nigerian earthenware pottery using centuries-old construction and decorative techniques. In 1954, she joined the Pottery Training Centre in Abuja, present-day Suleja, where she learned global pottery traditions. Kwali quickly became one of Nigeria\u2019s first female potters whose work was admired as fine art rather than functional objects."}],"dimensionalData":[{"dimID":105713,"dimensions":"14 x 18.5 x 26.5 cm","description":"Object Height\/Width\/Length"},{"dimID":105714,"dimensions":"5 1\/2 x 7 5\/16 x 10 7\/16 in","description":"Object Height\/Width\/Length"}]},{"id":455,"objectID":44958,"title":"pot with crosshatched medallions and looped handles","accessionNumber":"2012.0613","geoAssoc":"China","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"2700 BCE\u20132300 BCE Neolitic period","material":"earthenware, slip (rim is chipped)","creditLine":"Gift of Jay Gates, Director, Spencer Museum of Art, 1984\u20131987","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78623,"collectionID":3475,"collectionType":"exhibition","description":"Painted pottery of the Yangshao culture was a distinct regional achievement of Neolithic China. This refined pot was carefully coiled, smoothed, and painted with curvilinear, circular, and crosshatched patterns in black and maroon slip. The thin clay body, symmetrical shape, and even brushstrokes suggest that the potter used a slow wheel. Advanced tools, like the wheel, increased the quality and quantity of pottery production in late Neolithic China.","displayDescription":"Painted pottery of the Yangshao culture was a distinct regional achievement of Neolithic China. This refined pot was carefully coiled, smoothed, and painted with curvilinear, circular, and crosshatched patterns in black and maroon slip. The thin clay body, symmetrical shape, and even brushstrokes suggest that the potter used a slow wheel. Advanced tools, like the wheel, increased the quality and quantity of pottery production in late Neolithic China."}],"dimensionalData":[{"dimID":109587,"dimensions":"4 15\/16 x 5 7\/8 in","description":"Object Height\/Diameter"},{"dimID":109586,"dimensions":"12.5 x 15 cm","description":"Object Height\/Diameter"}]},{"id":456,"objectID":44968,"title":"\u8336\u7897 chawan (tea bowl)","accessionNumber":"2012.0621","geoAssoc":"Japan","currLoc":"406, Stewart Gallery, 406, E1","alias":"","objectDate":"2000s","material":"Hagi ware","creditLine":"Gift of Jay Gates, Director, Spencer Museum of Art, 1984\u20131987","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":109576,"dimensions":"10 x 9.5 cm","description":"Object Height\/Diameter"},{"dimID":109577,"dimensions":"3 15\/16 x 3 3\/4 in","description":"Object Height\/Diameter"}]},{"id":457,"objectID":45729,"title":"Scholar under Pine Tree","accessionNumber":"2013.0020","geoAssoc":"Korea","currLoc":"408, Kemper Balcony, 408, N1","alias":"","objectDate":"1922","material":"ink, paper","creditLine":"Museum purchase: Helen Foresman Spencer Art Acquisition Fund","exhibition":[{"id":3479,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78869,"collectionID":3479,"collectionType":"exhibition","description":"Ji Unyeong painted during the tumultuous period of transition from the end of the imperial Joseon dynasty (1392\u20131897) to the Japanese occupation of Korea (1910\u20131945). Here Ji depicts himself as Tao Yuanming (circa 356\u2013427 CE), a famous Chinese poet and court official who left government service to live out his life as a recluse. The inscription quotes Tao\u2019s poem \u201cPeach Blossom Spring,\u201d which seems to envelop Ji as he stares thoughtfully into the distance.","displayDescription":"Ji Unyeong painted during the tumultuous period of transition from the end of the imperial Joseon dynasty (1392\u20131897) to the Japanese occupation of Korea (1910\u20131945). Here Ji depicts himself as Tao Yuanming (circa 356\u2013427 CE), a famous Chinese poet and court official who left government service to live out his life as a recluse. The inscription quotes Tao\u2019s poem \u201cPeach Blossom Spring,\u201d which seems to envelop Ji as he stares thoughtfully into the distance."}],"dimensionalData":[{"dimID":155268,"dimensions":"133 x 66 cm","description":"Object Height\/Width"},{"dimID":155269,"dimensions":"52 3\/8 x 26 in","description":"Object Height\/Width"}]},{"id":458,"objectID":45895,"title":"Le partage du gateau (Dividing the Cake)","accessionNumber":"2013.0057","geoAssoc":"Democratic Republic of the Congo","currLoc":"401, Loo Gallery, 401, W3","alias":"","objectDate":"2013","material":"acrylic, canvas","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund","exhibition":[{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78499,"collectionID":3474,"collectionType":"exhibition","description":"The Democratic Republic of the Congo is extremely rich in minerals and other natural resources, resulting in a history of commercial and colonial extraction and exploitation. Sam Ilus represents humanity\u2019s mentality toward this region as a Congo-shaped cake being torn apart by Congolese and foreign leaders. Ordinary citizens are stepped on amidst a feeding frenzy to consume the nation.","displayDescription":"The Democratic Republic of the Congo is extremely rich in minerals and other natural resources, resulting in a history of commercial and colonial extraction and exploitation. Sam Ilus represents humanity\u2019s mentality toward this region as a Congo-shaped cake being torn apart by Congolese and foreign leaders. Ordinary citizens are stepped on amidst a feeding frenzy to consume the nation."}],"dimensionalData":[{"dimID":113012,"dimensions":"42 1\/2 x 42 1\/2 in","description":"Image Dimensions Height\/Width"},{"dimID":110897,"dimensions":"107.95 x 107.95 cm","description":"Image Dimensions Height\/Width"},{"dimID":169909,"dimensions":"not stretched 116 x 117 cm","description":"Canvas\/Support"},{"dimID":169910,"dimensions":"not stretched 45 11\/16 x 46 1\/16 in","description":"Canvas\/Support"}]},{"id":459,"objectID":45916,"title":"Genesis","accessionNumber":"2013.0124","geoAssoc":"United States","currLoc":"407, Kress Gallery, 407, E3","alias":"","objectDate":"2005","material":"oil, canvas","creditLine":"Museum purchase: Friends of the Art Museum","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78429,"collectionID":3473,"collectionType":"exhibition","description":"At first glance, Jane Bunker\u2019s work appears to be photographic\u2014an unfocused, blurry sight originating within a camera lens. On closer inspection, the smooth application of paint comes forth. Bunker\u2019s paintings are inspired by her childhood when she was diagnosed with myopia, or near-sightedness, that went undetected for several years. Genesis plays with light and shadow to capture a hazy natural environment across its four panels.","displayDescription":"At first glance, Jane Bunker\u2019s work appears to be photographic\u2014an unfocused, blurry sight originating within a camera lens. On closer inspection, the smooth application of paint comes forth. Bunker\u2019s paintings are inspired by her childhood when she was diagnosed with myopia, or near-sightedness, that went undetected for several years. Genesis plays with light and shadow to capture a hazy natural environment across its four panels."}],"dimensionalData":[{"dimID":170317,"dimensions":"35 x 45 x 1 3\/4 in","description":"Frame Dimensions"}]},{"id":460,"objectID":45919,"title":"one of a set of five manillas (currency bracelets)","accessionNumber":"2007.3390.02","geoAssoc":"Nigeria","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"late 1800s\u20131963","material":"possibly copper","creditLine":"Gift of Theodore Eaton","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78625,"collectionID":3475,"collectionType":"exhibition","description":"During the 16th century, manillas like these were used as currency by Portuguese slave traders in West Africa. The word manilla originates from the Portuguese word manilha or \u201chand-ring.\u201d The West African slave trade was later dominated by the British, French, and Dutch to populate labor-intensive plantations in the Americas.","displayDescription":"During the 16th century, manillas like these were used as currency by Portuguese slave traders in West Africa. The word manilla originates from the Portuguese word manilha or \u201chand-ring.\u201d The West African slave trade was later dominated by the British, French, and Dutch to populate labor-intensive plantations in the Americas."}],"dimensionalData":[{"dimID":110939,"dimensions":"largest 6 x 6 cm","description":"Object Height\/Width"},{"dimID":110940,"dimensions":"largest 2 3\/8 x 2 3\/8 in","description":"Object Height\/Width"}]},{"id":461,"objectID":45920,"title":"one of a set of five manillas (currency bracelets)","accessionNumber":"2007.3390.03","geoAssoc":"Nigeria","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"late 1800s\u20131963","material":"possibly copper","creditLine":"Gift of Theodore Eaton","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78626,"collectionID":3475,"collectionType":"exhibition","description":"During the 16th century, manillas like these were used as currency by Portuguese slave traders in West Africa. The word manilla originates from the Portuguese word manilha or \u201chand-ring.\u201d The West African slave trade was later dominated by the British, French, and Dutch to populate labor-intensive plantations in the Americas.","displayDescription":"During the 16th century, manillas like these were used as currency by Portuguese slave traders in West Africa. The word manilla originates from the Portuguese word manilha or \u201chand-ring.\u201d The West African slave trade was later dominated by the British, French, and Dutch to populate labor-intensive plantations in the Americas."}],"dimensionalData":[{"dimID":110943,"dimensions":"largest 6 x 6 cm","description":"Object Height\/Width"},{"dimID":110944,"dimensions":"largest 2 3\/8 x 2 3\/8 in","description":"Object Height\/Width"}]},{"id":462,"objectID":45921,"title":"one of a set of five manillas (currency bracelets)","accessionNumber":"2007.3390.04","geoAssoc":"Nigeria","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"late 1800s\u20131963","material":"possibly copper","creditLine":"Gift of Theodore Eaton","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78627,"collectionID":3475,"collectionType":"exhibition","description":"During the 16th century, manillas like these were used as currency by Portuguese slave traders in West Africa. The word manilla originates from the Portuguese word manilha or \u201chand-ring.\u201d The West African slave trade was later dominated by the British, French, and Dutch to populate labor-intensive plantations in the Americas.","displayDescription":"During the 16th century, manillas like these were used as currency by Portuguese slave traders in West Africa. The word manilla originates from the Portuguese word manilha or \u201chand-ring.\u201d The West African slave trade was later dominated by the British, French, and Dutch to populate labor-intensive plantations in the Americas."}],"dimensionalData":[{"dimID":110947,"dimensions":"largest 6 x 6 cm","description":"Object Height\/Width"},{"dimID":110948,"dimensions":"largest 2 3\/8 x 2 3\/8 in","description":"Object Height\/Width"}]},{"id":463,"objectID":45922,"title":"one of a set of five manillas (currency bracelets)","accessionNumber":"2007.3390.05","geoAssoc":"Nigeria","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"late 1800s\u20131963","material":"possibly copper","creditLine":"Gift of Theodore Eaton","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78628,"collectionID":3475,"collectionType":"exhibition","description":"During the 16th century, manillas like these were used as currency by Portuguese slave traders in West Africa. The word manilla originates from the Portuguese word manilha or \u201chand-ring.\u201d The West African slave trade was later dominated by the British, French, and Dutch to populate labor-intensive plantations in the Americas.","displayDescription":"During the 16th century, manillas like these were used as currency by Portuguese slave traders in West Africa. The word manilla originates from the Portuguese word manilha or \u201chand-ring.\u201d The West African slave trade was later dominated by the British, French, and Dutch to populate labor-intensive plantations in the Americas."}],"dimensionalData":[{"dimID":110951,"dimensions":"largest 6 x 6 cm","description":"Object Height\/Width"},{"dimID":110952,"dimensions":"largest 2 3\/8 x 2 3\/8 in","description":"Object Height\/Width"}]},{"id":464,"objectID":46120,"title":"one of a set of two buttons made from nickels","accessionNumber":"2007.0452.02","geoAssoc":"United States","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"1937\u20131957","material":"silver, copper","creditLine":"Gift of Ann and Britt Brown, Blackbear Bosin Collection","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78630,"collectionID":3475,"collectionType":"exhibition","description":"When Din\u00e9 artists began silversmithing in the 1800s, they replaced bone, stone, and shell buttons with domed silver ones. They often repurposed silver coins, like these \u201cIndian head\u201d nickels minted in 1936 and 1937, to create decorative buttons. These small objects reference many themes in this exhibition: artistic process and creativity, repurposing materials, commodification and exchange, and the complex impacts of colonialism on Indigenous populations and natural resources.","displayDescription":"When Din\u00e9 artists began silversmithing in the 1800s, they replaced bone, stone, and shell buttons with domed silver ones. They often repurposed silver coins, like these \u201cIndian head\u201d nickels minted in 1936 and 1937, to create decorative buttons. These small objects reference many themes in this exhibition: artistic process and creativity, repurposing materials, commodification and exchange, and the complex impacts of colonialism on Indigenous populations and natural resources."}],"dimensionalData":[{"dimID":111604,"dimensions":"0.5 x 2 cm","description":"Object Height\/Diameter"},{"dimID":111605,"dimensions":"3\/16 x 13\/16 in","description":"Object Height\/Diameter"}]},{"id":465,"objectID":46396,"title":"The Moon","accessionNumber":"2013.0133.01,2","geoAssoc":"Korea","currLoc":"407, Kress Gallery, 407, S2","alias":"","objectDate":"2006\u20132011","material":"single-channel silent video projection, 14 minutes 11 seconds","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78421,"collectionID":3473,"collectionType":"exhibition","description":"The moon influences the ebb and flow of tides all over the world. Folklore and anecdotal evidence suggest that the moon can sway human behavior and recent scientific evidence shows lunar cycles indeed affect our daily rhythms. U Sunok composed this video of the moon phasing through its monthly cycle from footage taken by the Lunar Reconnaissance Orbiter, a robotic mission launched by NASA in 2009 to map the moon\u2019s surface.","displayDescription":"The moon influences the ebb and flow of tides all over the world. Folklore and anecdotal evidence suggest that the moon can sway human behavior and recent scientific evidence shows lunar cycles indeed affect our daily rhythms. U Sunok composed this video of the moon phasing through its monthly cycle from footage taken by the Lunar Reconnaissance Orbiter, a robotic mission launched by NASA in 2009 to map the moon\u2019s surface."}],"dimensionalData":[]},{"id":466,"objectID":47343,"title":"Poyet Projection","accessionNumber":"2014.0060.a,b","geoAssoc":"United States","currLoc":"407, Kress Gallery, 407, E3","alias":"","objectDate":"2000","material":"acrylic, canvas","creditLine":"Gift of the Estate of Ellen Lanyon","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78425,"collectionID":3473,"collectionType":"exhibition","description":"Ellen Lanyon\u2019s homage to 19th-century French engraver Louis Poyet (1846\u20131913) navigates the lines between light and dark, artificial and natural, and fantasy and realism. Poyet\u2019s graphic illustrations of light tricks from the book Magic Experiments: Or, Science in Play (1892) were introduced to Lanyon by her son. Both mechanical and botanical, Poyet Projection creates a quiet illusion as grand flowers shine through the antique projector\u2019s beam.","displayDescription":"Ellen Lanyon\u2019s homage to 19th-century French engraver Louis Poyet (1846\u20131913) navigates the lines between light and dark, artificial and natural, and fantasy and realism. Poyet\u2019s graphic illustrations of light tricks from the book Magic Experiments: Or, Science in Play (1892) were introduced to Lanyon by her son. Both mechanical and botanical, Poyet Projection creates a quiet illusion as grand flowers shine through the antique projector\u2019s beam."}],"dimensionalData":[{"dimID":114472,"dimensions":"12 x 24 x 1 in together","description":"Canvas\/Support"}]},{"id":467,"objectID":47509,"title":"\u7363\u306e\u76ae\u3092\u88ab\u308a \u8349\u306e\u7de8\u307f\u3082\u306e Donning Animal Skins and Braided Grass","accessionNumber":"2017.0048.a,b","geoAssoc":"Japan","currLoc":"401, Loo Gallery, 401, E2","alias":"","objectDate":"2011","material":"mirror, wood, Styrofoam, aluminum","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund","exhibition":[{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78514,"collectionID":3474,"collectionType":"exhibition","description":"Long ago, the forested mountains of Japan teamed with wildlife such as the large Hokkaid\u014d wolf and the smaller Honsh\u016b wolf. Both species of native Japanese wolves were exterminated in the 19th century when wolves became associated with rabies and Japan modernized their agricultural practices. This six-legged, mirror-encrusted sculpture revives the spirit and lore of the vanished Japanese wolf.","displayDescription":"Long ago, the forested mountains of Japan teamed with wildlife such as the large Hokkaid\u014d wolf and the smaller Honsh\u016b wolf. Both species of native Japanese wolves were exterminated in the 19th century when wolves became associated with rabies and Japan modernized their agricultural practices. This six-legged, mirror-encrusted sculpture revives the spirit and lore of the vanished Japanese wolf."}],"dimensionalData":[{"dimID":151802,"dimensions":"116 x 41 x 320 cm assembled","description":"Object Height\/Width\/Length"},{"dimID":151804,"dimensions":"45 11\/16 x 16 1\/8 x 126 in assembled","description":"Object Height\/Width\/Length"}]},{"id":468,"objectID":48695,"title":"Two Boys Looking","accessionNumber":"2014.0718.a,b","geoAssoc":"United States","currLoc":"407, Kress Gallery, 407, W1","alias":"","objectDate":"2006","material":"black walnut wood, carving, staining","creditLine":"Gift of the artist","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78431,"collectionID":3473,"collectionType":"exhibition","description":"Images of Pinocchio, the 1940 Disney animated movie about a wooden puppet striving to become a real boy, became a prominent feature in Jim Dine\u2019s artwork starting in 1998. The disturbing quality of this film thrilled and fascinated him. These carved statues are inspired by a toy figurine of Pinocchio that Dine has owned since 1964. His revival of the iconic cartoon character is a symbol of what an artist does: breathe life into all of their creations.","displayDescription":"Images of Pinocchio, the 1940 Disney animated movie about a wooden puppet striving to become a real boy, became a prominent feature in Jim Dine\u2019s artwork starting in 1998. The disturbing quality of this film thrilled and fascinated him. These carved statues are inspired by a toy figurine of Pinocchio that Dine has owned since 1964. His revival of the iconic cartoon character is a symbol of what an artist does: breathe life into all of their creations."}],"dimensionalData":[{"dimID":118801,"dimensions":"79 x 58 x 30 in overall installed","description":"Object Height\/Width\/Depth"}]},{"id":469,"objectID":50120,"title":"drum jar with triangles","accessionNumber":"2015.0030","geoAssoc":"United States","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"1980s\u20131990s","material":"ceramic, incising","creditLine":"Gift of Dr. Allan R. Cooke in memory of wife Judith M. Cooke","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78631,"collectionID":3475,"collectionType":"exhibition","description":"Din\u00e9 (Navajo) artists are primarily recognized for weaving textiles and basketry, but contemporary artists are establishing pottery traditions. Alice Cling is a well-known Din\u00e9 potter renowned for her use of simple forms. In this hand-coiled and pit-fired drum jar, Cling relies on melted pitch in her slip to create the distinctive rusted reds and browns mixed with darker streaks.","displayDescription":"Din\u00e9 (Navajo) artists are primarily recognized for weaving textiles and basketry, but contemporary artists are establishing pottery traditions. Alice Cling is a well-known Din\u00e9 potter renowned for her use of simple forms. In this hand-coiled and pit-fired drum jar, Cling relies on melted pitch in her slip to create the distinctive rusted reds and browns mixed with darker streaks."}],"dimensionalData":[{"dimID":124059,"dimensions":"25 x 19.5 cm","description":"Object Height\/Diameter"},{"dimID":124060,"dimensions":"9 13\/16 x 7 11\/16 in","description":"Object Height\/Diameter"}]},{"id":470,"objectID":52682,"title":"Iceboat","accessionNumber":"2015.0068","geoAssoc":"India","currLoc":"407, Kress Gallery, 407, N2","alias":"","objectDate":"2012\u20132013","material":"single-channel video, 13 minutes 17 seconds","creditLine":"Museum purchase: Helen Foresman Spencer Art Acquisition Fund","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78434,"collectionID":3473,"collectionType":"exhibition","description":"In this video, artist Neha Choksi rows a boat made of ice while dressed in white robes. The boat acts as an extension of her body. She persists in rowing until the boat inevitably melts and disappears. Beginning with underwater shots of Choksi in the water surrounded by the remnants of the boat, this work evokes the notion of reincarnation.","displayDescription":"In this video, artist Neha Choksi rows a boat made of ice while dressed in white robes. The boat acts as an extension of her body. She persists in rowing until the boat inevitably melts and disappears. Beginning with underwater shots of Choksi in the water surrounded by the remnants of the boat, this work evokes the notion of reincarnation."}],"dimensionalData":[]},{"id":471,"objectID":54493,"title":"\u0930\u093e\u0924 \u0926\u093f\u0928 \u0926\u093f\u0928 \u0930\u093e\u0924 (R\u0101ta-Dina, Dina- R\u0101ta) Night & Day, Day & Night","accessionNumber":"2015.0148","geoAssoc":"India","currLoc":"407, Kress Gallery, 407, S3","alias":"","objectDate":"2015","material":"stainless steel, acrylic","creditLine":"Museum purchase: Helen Foresman Spencer Art Acquisition Fund","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78420,"collectionID":3473,"collectionType":"exhibition","description":"Instead of numerals, this luminous clock measures the day with 24 words describing time and duration written in Devan\u0101gar\u012b script. From concepts of social change, such as \u201crevolution\u201d (kr\u0101nti, hour 19), to the movement of celestial bodies with \u201ceclipse\u201d (graha\u1e47, hour 7), the range of terms combined with the calm glow of the clock convey the variety of ways time can be represented and described.","displayDescription":"Instead of numerals, this luminous clock measures the day with 24 words describing time and duration written in Devan\u0101gar\u012b script. From concepts of social change, such as \u201crevolution\u201d (kr\u0101nti, hour 19), to the movement of celestial bodies with \u201ceclipse\u201d (graha\u1e47, hour 7), the range of terms combined with the calm glow of the clock convey the variety of ways time can be represented and described."}],"dimensionalData":[{"dimID":154573,"dimensions":"194 x 162 x 28.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":154574,"dimensions":"76 3\/8 x 63 3\/4 x 11 5\/8 in","description":"Object Height\/Width\/Depth"},{"dimID":154575,"dimensions":"250 lbs","description":"Weight"}]},{"id":472,"objectID":55409,"title":"Aylan and Others","accessionNumber":"2016.0140.a-y","geoAssoc":"Turkey (present-day T\u00fcrkiye)","currLoc":"401, Loo Gallery, 401, W2","alias":"","objectDate":"2015","material":"earthenware, underglaze, slip casting","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund","exhibition":[{"id":3474,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78515,"collectionID":3474,"collectionType":"exhibition","description":"Aylan and Others responds to a photograph of Alan Kurdi, a three-year-old Syrian refugee whose drowned body was found on the shores of the Aegean Sea in 2015. The variety of glazed ceramic shoes speaks to a desire for harmony among different social classes, while the title recalls the location where Kurdi\u2019s body washed ashore. The shoes also evoke the presence of many displaced peoples worldwide, particularly children, caught in the conflict of war.","displayDescription":"Aylan and Others responds to a photograph of Alan Kurdi, a three-year-old Syrian refugee whose drowned body was found on the shores of the Aegean Sea in 2015. The variety of glazed ceramic shoes speaks to a desire for harmony among different social classes, while the title recalls the location where Kurdi\u2019s body washed ashore. The shoes also evoke the presence of many displaced peoples worldwide, particularly children, caught in the conflict of war."}],"dimensionalData":[{"dimID":145105,"dimensions":"3 x 24 x 47 in","description":"Object Height\/Width\/Length"}]},{"id":473,"objectID":55815,"title":"blackware jar","accessionNumber":"2016.0208","geoAssoc":"Santa Clara Pueblo, New Mexico, United States","currLoc":"407, Kress Gallery, 407, W2","alias":"","objectDate":"1999","material":"ceramic, burnishing, carving","creditLine":"Gift of Ellie LeCompte","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":153912,"dimensions":"16.5 x 24 cm","description":"Object Height\/Diameter"},{"dimID":153913,"dimensions":"6 1\/2 x 9 7\/16 in","description":"Object Height\/Diameter"}]},{"id":474,"objectID":55823,"title":"bowl","accessionNumber":"2016.0216","geoAssoc":"San Ildefonso Pueblo, New Mexico, United States","currLoc":"407, Kress Gallery, 407, W2","alias":"","objectDate":"1970","material":"ceramic, burnishing","creditLine":"Gift of Ellie LeCompte","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78633,"collectionID":3475,"collectionType":"exhibition","description":"This round bowl was created by the mother-son team of Maria Martinez and Antonio Martinez, who chose to use his Tewa name Popovi Da, which translates to \u201cRed Fox\u201d in the Tewa language. In addition to creating pottery, Da served in the United States military and was involved as a machinist for the Manhattan Project, a research project that ultimately led to the development of nuclear weapons.","displayDescription":"This round bowl was created by the mother-son team of Maria Martinez and Antonio Martinez, who chose to use his Tewa name Popovi Da, which translates to \u201cRed Fox\u201d in the Tewa language. In addition to creating pottery, Da served in the United States military and was involved as a machinist for the Manhattan Project, a research project that ultimately led to the development of nuclear weapons."}],"dimensionalData":[{"dimID":153964,"dimensions":"8.5 x 11 cm","description":"Object Height\/Diameter"},{"dimID":153965,"dimensions":"3 3\/8 x 4 5\/16 in","description":"Object Height\/Diameter"}]},{"id":475,"objectID":58299,"title":"\u8336\u7897 chawan (tea bowl)","accessionNumber":"2018.0007","geoAssoc":"Japan","currLoc":"406, Stewart Gallery, 406, W1","alias":"","objectDate":"2017","material":"porcelain, glaze, pigment, gold","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":158858,"dimensions":"3 lbs","description":"Weight"},{"dimID":154332,"dimensions":"17.7 x 19 x 18.1 cm","description":"Object Height\/Width\/Depth"},{"dimID":154333,"dimensions":"6 15\/16 x 7 1\/2 x 7 1\/8 in","description":"Object Height\/Width\/Depth"}]},{"id":476,"objectID":58300,"title":"\u8336\u7897 chawan (tea bowl)","accessionNumber":"2018.0008","geoAssoc":"Japan","currLoc":"407, Kress Gallery, 407, W3","alias":"","objectDate":"2017","material":"porcelain, glaze, platinum","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78464,"collectionID":3473,"collectionType":"exhibition","description":"Kuwata Takur\u014d is a radical potter whose work is grounded in Japanese ceramic traditions despite his bizarre creations. His oddly elegant forms are based on iconic shapes such as the tea bowl. Kuwata states that his goal is to \u201ccreate joyful and fun works by making the most use of the characteristics of the materials.\u201d","displayDescription":"Kuwata Takur\u014d is a radical potter whose work is grounded in Japanese ceramic traditions despite his bizarre creations. His oddly elegant forms are based on iconic shapes such as the tea bowl. Kuwata states that his goal is to \u201ccreate joyful and fun works by making the most use of the characteristics of the materials.\u201d"}],"dimensionalData":[{"dimID":154334,"dimensions":"18 x 20.5 x 19 cm","description":"Object Height\/Width\/Depth"},{"dimID":154335,"dimensions":"7 1\/16 x 8 1\/16 x 7 1\/2 in","description":"Object Height\/Width\/Depth"},{"dimID":158857,"dimensions":"5 lbs","description":"Weight"}]},{"id":477,"objectID":58655,"title":"gold weight in the shape of a bird on a stepped pyramid","accessionNumber":"2018.0066","geoAssoc":"C\u00f4te d'Ivoire","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"brass, casting","creditLine":"Gift of Robert A. Hiller in honor of Chantal de Buchy","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78635,"collectionID":3475,"collectionType":"exhibition","description":"Beginning in the ninth century, Akan-speaking communities of West Africa established a dynamic trade hub that connected populations across the African continent and beyond. To facilitate the exchange of commodities like gold, ivory, salt, and pepper, Akan artisans created brass scoops, scales, and weights like these to measure gold dust. Gold dust was the standardized unit of currency created from the abundant mineral deposits found along what European colonizers would later term the \u201cGold Coast.\u201d","displayDescription":"Beginning in the ninth century, Akan-speaking communities of West Africa established a dynamic trade hub that connected populations across the African continent and beyond. To facilitate the exchange of commodities like gold, ivory, salt, and pepper, Akan artisans created brass scoops, scales, and weights like these to measure gold dust. Gold dust was the standardized unit of currency created from the abundant mineral deposits found along what European colonizers would later term the \u201cGold Coast.\u201d"}],"dimensionalData":[{"dimID":158154,"dimensions":"2.1 x 2 x 2.2 cm","description":"Object Height\/Width\/Depth"},{"dimID":158155,"dimensions":"13\/16 x 13\/16 x 7\/8 in","description":"Object Height\/Width\/Depth"}]},{"id":478,"objectID":58670,"title":"gold weight in the shape of a bird on a stepped pyramid","accessionNumber":"2018.0067","geoAssoc":"C\u00f4te d'Ivoire","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"brass, casting","creditLine":"Gift of Robert A. Hiller in honor of Chantal de Buchy","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78636,"collectionID":3475,"collectionType":"exhibition","description":"Beginning in the ninth century, Akan-speaking communities of West Africa established a dynamic trade hub that connected populations across the African continent and beyond. To facilitate the exchange of commodities like gold, ivory, salt, and pepper, Akan artisans created brass scoops, scales, and weights like these to measure gold dust. Gold dust was the standardized unit of currency created from the abundant mineral deposits found along what European colonizers would later term the \u201cGold Coast.\u201d","displayDescription":"Beginning in the ninth century, Akan-speaking communities of West Africa established a dynamic trade hub that connected populations across the African continent and beyond. To facilitate the exchange of commodities like gold, ivory, salt, and pepper, Akan artisans created brass scoops, scales, and weights like these to measure gold dust. Gold dust was the standardized unit of currency created from the abundant mineral deposits found along what European colonizers would later term the \u201cGold Coast.\u201d"}],"dimensionalData":[{"dimID":158156,"dimensions":"2.2 x 2.2 x 2.3 cm","description":"Object Height\/Width\/Depth"},{"dimID":158157,"dimensions":"7\/8 x 7\/8 x 7\/8 in","description":"Object Height\/Width\/Depth"}]},{"id":479,"objectID":58671,"title":"stamped gold weight in the form of a rectangular prism","accessionNumber":"2018.0068","geoAssoc":"C\u00f4te d'Ivoire","currLoc":"406, Stewart Gallery, 406, C3","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"brass, pigment, casting, stamping","creditLine":"Gift of Robert A. Hiller in honor of Chantal de Buchy","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78637,"collectionID":3475,"collectionType":"exhibition","description":"Beginning in the ninth century, Akan-speaking communities of West Africa established a dynamic trade hub that connected populations across the African continent and beyond. To facilitate the exchange of commodities like gold, ivory, salt, and pepper, Akan artisans created brass scoops, scales, and weights like these to measure gold dust. Gold dust was the standardized unit of currency created from the abundant mineral deposits found along what European colonizers would later term the \u201cGold Coast.\u201d","displayDescription":"Beginning in the ninth century, Akan-speaking communities of West Africa established a dynamic trade hub that connected populations across the African continent and beyond. To facilitate the exchange of commodities like gold, ivory, salt, and pepper, Akan artisans created brass scoops, scales, and weights like these to measure gold dust. Gold dust was the standardized unit of currency created from the abundant mineral deposits found along what European colonizers would later term the \u201cGold Coast.\u201d"}],"dimensionalData":[{"dimID":158158,"dimensions":"3.3 x 1.4 x 1.4 cm","description":"Object Height\/Width\/Depth"},{"dimID":158160,"dimensions":"1 5\/16 x 9\/16 x 9\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":480,"objectID":58967,"title":"Navigating","accessionNumber":"2018.0205","geoAssoc":"Lawrence, Kansas, United States","currLoc":"407, Kress Gallery, 407, S2","alias":"","objectDate":"2018","material":"oil, canvas","creditLine":"Museum purchase: Peter T. Bohan Art Acquisition Fund","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78426,"collectionID":3473,"collectionType":"exhibition","description":"Lisa Grossman's smooth brushstrokes guide us along the meandering stillness of the Kansas River, as known as the Kaw, and into the orange hues of the horizon line at the top of the painting. Engulfed by the darkness of the land, the rays from the rising or setting sun glisten on the clear river water. Navigating offers a distinct aerial perspective of the river and is Grossman\u2019s tribute to the land that sustains thousands of Kansans.","displayDescription":"Lisa Grossman's smooth brushstrokes guide us along the meandering stillness of the Kansas River, as known as the Kaw, and into the orange hues of the horizon line at the top of the painting. Engulfed by the darkness of the land, the rays from the rising or setting sun glisten on the clear river water. Navigating offers a distinct aerial perspective of the river and is Grossman\u2019s tribute to the land that sustains thousands of Kansans."}],"dimensionalData":[{"dimID":170306,"dimensions":"63 x 75 x 2 1\/2 in","description":"Frame Dimensions"}]},{"id":481,"objectID":59104,"title":"Shaman Spirit with Two Attendants","accessionNumber":"2019.0012","geoAssoc":"Korea","currLoc":"408, Kemper Balcony, 408, N3","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"ink, color, paper","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund","exhibition":[{"id":3479,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78870,"collectionID":3479,"collectionType":"exhibition","description":"The central figure of this painting grasping his beard is probably Daegam, or \u201cgreat lord.\u201d Daegam is a deity in Korean shamanism, which involves the worship of ancestors and nature spirits. Shamans act as intermediaries between the spirit and human worlds. In Korea today there are even caf\u00e9s where you can consult with a shaman over a cup of coffee.","displayDescription":"The central figure of this painting grasping his beard is probably Daegam, or \u201cgreat lord.\u201d Daegam is a deity in Korean shamanism, which involves the worship of ancestors and nature spirits. Shamans act as intermediaries between the spirit and human worlds. 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After a teaching career at Ewha University, Kim moved to New York in 1974, where he earned a reputation as \u201cthe rose painter.\u201d"}],"dimensionalData":[{"dimID":171930,"dimensions":"25 1\/2 x 21 1\/2 x 5 in","description":"Frame Dimensions"}]},{"id":514,"objectID":62915,"title":"projection of lantern slide-Montreuil-Bellay","accessionNumber":"1971.0018.327.01","geoAssoc":"England, United Kingdom","currLoc":"407, Kress Gallery, 407, S1","alias":"","objectDate":"1902\u20131904","material":"digital file","creditLine":"Museum purchase","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[]},{"id":515,"objectID":62916,"title":"projection of lantern slide-Chateau Chaumont-Sur-Loire","accessionNumber":"1971.0018.401.01","geoAssoc":"England, United Kingdom","currLoc":"407, Kress Gallery, 407, S1","alias":"","objectDate":"1902\u20131904","material":"digital 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Walker Jr., by his family","exhibition":[{"id":3477,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":67615,"dimensions":"5.6 x 10.2 cm","description":"Object Height\/Diameter"},{"dimID":67616,"dimensions":"2 3\/16 x 4 in","description":"Object Height\/Diameter"}]},{"id":564,"objectID":41566,"title":"covered vessel","accessionNumber":"2008.0281.a,b","geoAssoc":"Korea","currLoc":"409, Lee Study Center, 409, Shelf 1","alias":"","objectDate":"2004","material":"ceramic, glaze","creditLine":"Gift of Kang Collection Korean Art, NYC","exhibition":[{"id":3477,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":82043,"dimensions":"25.5 x 30 x 27 cm","description":"Object Height\/Width\/Depth"},{"dimID":84143,"dimensions":"10 1\/16 x 11 3\/4 x 10 5\/8 in","description":"Object Height\/Width\/Depth"}]},{"id":565,"objectID":41808,"title":"wine cup","accessionNumber":"1928.1422.b","geoAssoc":"China","currLoc":"409, Lee Study Center, 409, Shelf 16","alias":"","objectDate":"early 1700s, Yongzheng period (1723\u20131735), Qing dynasty (1644\u20131911)","material":"porcelain, overglaze, enamel","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3477,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":82866,"dimensions":"3.6 x 6.5 cm","description":"Object Height\/Diameter"},{"dimID":82868,"dimensions":"1 3\/8 x 2 1\/2 in","description":"Object Height\/Diameter"}]},{"id":566,"objectID":41900,"title":"bottle","accessionNumber":"2020.0137","geoAssoc":"Democratic Republic of the Congo","currLoc":"409, Lee Study Center, 409, Shelf 08","alias":"","objectDate":"1925\u20131990","material":"ceramic, incising","creditLine":"Anonymous gift","exhibition":[{"id":3477,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":83086,"dimensions":"36 x 19.5 cm","description":"Object 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Miller","exhibition":[{"id":3478,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":106415,"dimensions":"30.7 x 20.2 x 2.7 cm","description":"Object Height\/Width\/Depth"},{"dimID":106416,"dimensions":"12 1\/16 x 7 15\/16 x 1 1\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":569,"objectID":44966,"title":"hu-shaped funerary vase (one of a pair)","accessionNumber":"2012.0623.01","geoAssoc":"China","currLoc":"409, Lee Study Center, 409, Shelf 21","alias":"","objectDate":"Han dynasty (206 BCE\u2013220 CE)","material":"stoneware, glaze","creditLine":"Gift of Jay Gates, Director, Spencer Museum of Art, 1984\u20131987","exhibition":[{"id":3477,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":109588,"dimensions":"38.3 x 24.7 cm","description":"Object Height\/Diameter"},{"dimID":109589,"dimensions":"15 1\/16 x 9 3\/4 in","description":"Object 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1984\u20131987","exhibition":[{"id":3477,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":170304,"dimensions":"10 1\/16 x 10 1\/16 x 8 1\/4 in","description":"Object Height\/Width\/Depth"},{"dimID":109562,"dimensions":"25.5 x 25.5 x 21 cm","description":"Object Height\/Width\/Depth"}]},{"id":572,"objectID":47033,"title":"lidded bowl on stand with Cint\u0101mani handle","accessionNumber":"2014.0053.a,b","geoAssoc":"Korea","currLoc":"409, Lee Study Center, 409, Shelf 12","alias":"","objectDate":"1500s, Joseon dynasty (1392\u20131910)","material":"baegja white ware","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund","exhibition":[{"id":3477,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":155579,"dimensions":"a 14 x 17.5 cm","description":"Object Height\/Diameter"},{"dimID":155580,"dimensions":"a 5 1\/2 x 6 7\/8 in","description":"Object Height\/Diameter"},{"dimID":155581,"dimensions":"b 8 x 17.5 cm","description":"Object Height\/Diameter"},{"dimID":155582,"dimensions":"b 3 1\/8 x 6 7\/8 in","description":"Object Height\/Diameter"},{"dimID":155583,"dimensions":"assembled 20 x 17.5 cm","description":"Object Height\/Diameter"},{"dimID":155584,"dimensions":"assembled 7 7\/8 x 6 7\/8 in","description":"Object Height\/Diameter"}]},{"id":573,"objectID":52061,"title":"\u90ed\u6c7e\u967d\u884c\u6a02\u5716 Gwakbunyang hyangrakdo (Guo Ziyi\u2018s Enjoyment-of-Life Banquet Screen)","accessionNumber":"2015.0061","geoAssoc":"Korea","currLoc":"409, Lee Study Center, 409, N1","alias":"","objectDate":"early 1800s, Joseon dynasty (1392\u20131910)","material":"ink, color, silk","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3479,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78872,"collectionID":3479,"collectionType":"exhibition","description":"In late Joseon Korea, screens depicting the lavish birthday banquet of Chinese general Guo Ziyi (697\u2013781 CE) became extremely popular. While Guo Ziyi screens were commonly used for birthday celebrations in China, at the Joseon royal court they were used primarily in weddings. This screen was recently conserved in Korea through a grant from the Overseas Korean Cultural Heritage Foundation.","displayDescription":"In late Joseon Korea, screens depicting the lavish birthday banquet of Chinese general Guo Ziyi (697\u2013781 CE) became extremely popular. While Guo Ziyi screens were commonly used for birthday celebrations in China, at the Joseon royal court they were used primarily in weddings. This screen was recently conserved in Korea through a grant from the Overseas Korean Cultural Heritage Foundation."}],"dimensionalData":[{"dimID":132856,"dimensions":"66 x 166 in","description":"Object Height\/Width"}]},{"id":574,"objectID":56961,"title":"\ub2ec\ud56d\uc544\ub9ac dalhangari (moon jar)","accessionNumber":"PG2017.002","geoAssoc":"Korea","currLoc":"409, Lee Study Center, 409, Shelf 17","alias":"","objectDate":"late 1800s, Joseon dynasty (1392\u20131910)","material":"baegja white porcelain","creditLine":"Promised gift of the Weare-West Family Trust","exhibition":[{"id":3477,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":164383,"dimensions":"28 x 33.5 cm","description":"Object Height\/Diameter"},{"dimID":164384,"dimensions":"11 x 13 3\/16 in","description":"Object Height\/Diameter"}]},{"id":575,"objectID":56963,"title":"dragon vase","accessionNumber":"PG2017.004","geoAssoc":"Korea","currLoc":"409, Lee Study Center, 409, Shelf 06","alias":"","objectDate":"1800s, Joseon dynasty (1392\u20131910)","material":"porcelain, glaze","creditLine":"Promised gift of the Weare-West Family Trust","exhibition":[{"id":3477,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":164385,"dimensions":"36 x 28 cm","description":"Object Height\/Diameter"},{"dimID":164386,"dimensions":"14 3\/16 x 11 in","description":"Object Height\/Diameter"}]},{"id":576,"objectID":57858,"title":"water dropper","accessionNumber":"2017.0112","geoAssoc":"Korea","currLoc":"409, Lee Study Center, 409, Shelf 14","alias":"","objectDate":"1700s\u20131800s, Joseon dynasty (1392\u20131910)","material":"porcelain, glaze","creditLine":"Gift of Marsha and Christopher Haufler","exhibition":[{"id":3477,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":156462,"dimensions":"5.5 x 6.5 x 9.5 cm","description":"Object Height\/Width\/Length"},{"dimID":156463,"dimensions":"2 3\/16 x 2 9\/16 x 3 3\/4 in","description":"Object Height\/Width\/Length"}]},{"id":577,"objectID":59168,"title":"ruyi scepter","accessionNumber":"PG2019.005","geoAssoc":"China","currLoc":"409, Lee Study Center, 409, Drawer 01","alias":"","objectDate":null,"material":"porcelain, glaze","creditLine":"Promised gift of the Weare-West Family Trust","exhibition":[{"id":3478,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":170299,"dimensions":"11 x 14 x 52.5 cm","description":"Object Height\/Width\/Length"},{"dimID":170300,"dimensions":"4 5\/16 x 5 1\/2 x 20 11\/16 in","description":"Object Height\/Width\/Length"}]},{"id":578,"objectID":3319,"title":"hairpin (kanzashi) with turtle","accessionNumber":"1928.0251","geoAssoc":"Japan","currLoc":"405, Michaelis Gallery, 405, W1","alias":"","objectDate":"Edo period (1600\u20131868)","material":"silver, gold, coral","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":169857,"dimensions":"18.5 x 3.5 x 1.7 cm","description":"Object Length\/Width\/Depth"},{"dimID":169858,"dimensions":"7 5\/16 x 1 3\/8 x 11\/16 in","description":"Object Length\/Width\/Depth"}]},{"id":579,"objectID":3346,"title":"\u7c2a kanzashi (hair ornament)","accessionNumber":"1928.0300","geoAssoc":"Japan","currLoc":"405, Michaelis Gallery, 405, W1","alias":"","objectDate":"late 1800s, Edo period (1600\u20131868)","material":"tortoise shell","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":169855,"dimensions":"10.5 x 6.5 x 2 cm","description":"Object Length\/Width\/Depth"},{"dimID":169856,"dimensions":"4 1\/8 x 2 9\/16 x 13\/16 in","description":"Object Length\/Width\/Depth"}]},{"id":580,"objectID":3365,"title":"binyeo (hair ornament)","accessionNumber":"1928.0318.b","geoAssoc":"Korea","currLoc":"405, Michaelis Gallery, 405, W1","alias":"","objectDate":"late 1800s, Joseon dynasty (1392\u20131910)","material":"bronze, coral, casting, gilding","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":169865,"dimensions":"2 11\/16 x 1 x 9\/16 in","description":"Object Height\/Width\/Depth"},{"dimID":157340,"dimensions":"6.75 x 2.5 x 1.5 cm","description":"Object Height\/Width\/Depth"}]},{"id":581,"objectID":6940,"title":"La Toilette","accessionNumber":"1928.7143","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, W1","alias":"","objectDate":"circa 1910","material":"oil, canvas","creditLine":"William Bridges Thayer Memorial","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78702,"collectionID":3476,"collectionType":"exhibition","description":"A fashionable white woman lingers alone in a moment of personal adornment in her dressing room. Through this performance of her elegant toilette, is she assembling tools of empowerment and personal style? Or is she simply enacting her ability to use her social status and power to entice?","displayDescription":"A fashionable white woman lingers alone in a moment of personal adornment in her dressing room. Through this performance of her elegant toilette, is she assembling tools of empowerment and personal style? Or is she simply enacting her ability to use her social status and power to entice?"}],"dimensionalData":[{"dimID":23225,"dimensions":"80.5 x 100 cm","description":"Canvas\/Support"},{"dimID":23226,"dimensions":"31 3\/4 x 39 3\/8 in","description":"Canvas\/Support"},{"dimID":23227,"dimensions":"40 x 47 1\/2 in","description":"Frame Dimensions"},{"dimID":23228,"dimensions":"101.6 x 120.65 cm","description":"Frame Dimensions"}]},{"id":582,"objectID":9036,"title":"Green and Gold","accessionNumber":"1950.0003","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, W1","alias":"","objectDate":"circa 1910","material":"oil, canvas","creditLine":"Museum purchase","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78703,"collectionID":3476,"collectionType":"exhibition","description":"Under the male artist\u2019s gaze, the unnamed woman in this painting almost merges with the background because of the similar tones of her dress. Is she meant to be an aesthetic form, simply posing for the artist and denied any power to act? Or does she show off her beauty and delicacy as a form of self-empowerment?","displayDescription":"Under the male artist\u2019s gaze, the unnamed woman in this painting almost merges with the background because of the similar tones of her dress. Is she meant to be an aesthetic form, simply posing for the artist and denied any power to act? Or does she show off her beauty and delicacy as a form of self-empowerment?"}],"dimensionalData":[{"dimID":57476,"dimensions":"36 x 26 cm","description":"Canvas\/Support"},{"dimID":57477,"dimensions":"14 1\/8 x 10 1\/4 in","description":"Canvas\/Support"},{"dimID":170308,"dimensions":"19 1\/4 x 15 1\/2 x 2 1\/2 in","description":"Frame Dimensions"}]},{"id":583,"objectID":9645,"title":"The Inspiration of the Prophet Isaiah","accessionNumber":"1955.0011","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"1782","material":"oil, canvas","creditLine":"Gift of Mr. and Mrs. Howard Hurwitz","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78768,"collectionID":3476,"collectionType":"exhibition","description":"Benjamin West depicts a moment from Isaiah 6:6-7 in the Bible where a heavenly being purifies the prophet Isaiah\u2019s mouth with a hot coal. Isaiah gazes upon the winged creature\u2019s face as he receives atonement for his sins. Religious paintings often hold the power to inspire both faith and fear in their believers.","displayDescription":"Benjamin West depicts a moment from Isaiah 6:6-7 in the Bible where a heavenly being purifies the prophet Isaiah\u2019s mouth with a hot coal. Isaiah gazes upon the winged creature\u2019s face as he receives atonement for his sins. Religious paintings often hold the power to inspire both faith and fear in their believers."}],"dimensionalData":[{"dimID":23777,"dimensions":"83.8 x 34.3 cm","description":"Canvas\/Support"},{"dimID":23778,"dimensions":"33 x 13 1\/2 in","description":"Canvas\/Support"},{"dimID":170379,"dimensions":"38 3\/4 x 19 x 3 1\/4 in","description":"Frame Dimensions"}]},{"id":584,"objectID":9679,"title":"Maria Maddalena, Grand Duchess of Tuscany","accessionNumber":"1955.0045","geoAssoc":"Grand Duchy of Tuscany (present-day Italy)","currLoc":"405, Michaelis Gallery, 405, W1","alias":"","objectDate":"1610\u20131628","material":"oil, canvas","creditLine":"Museum purchase","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78704,"collectionID":3476,"collectionType":"exhibition","description":"The status of this woman is indicated by her crown, standing lace collar, handkerchief with tassels, and brocade fabric. This is an official portrait of Maria Maddalena, Grand Duchess of Tuscany and Archduchess of Austria. She ruled alongside her mother-in-law from 1621\u20131628. This was the only time during the long reign of the Medici family, a dynasty of bankers and political figures, that Tuscany was ruled by women.","displayDescription":"The status of this woman is indicated by her crown, standing lace collar, handkerchief with tassels, and brocade fabric. This is an official portrait of Maria Maddalena, Grand Duchess of Tuscany and Archduchess of Austria. She ruled alongside her mother-in-law from 1621\u20131628. This was the only time during the long reign of the Medici family, a dynasty of bankers and political figures, that Tuscany was ruled by women."}],"dimensionalData":[{"dimID":170389,"dimensions":"84 1\/4 x 50 x 2 in","description":"Frame Dimensions"},{"dimID":23779,"dimensions":"193 x 114.3 cm","description":"Canvas\/Support"},{"dimID":23780,"dimensions":"76 x 45 in","description":"Canvas\/Support"}]},{"id":585,"objectID":9767,"title":"La Pia de' Tolomei","accessionNumber":"1956.0031","geoAssoc":"England, United Kingdom","currLoc":"405, Michaelis Gallery, 405, S1","alias":"","objectDate":"1868\u20131880","material":"oil, canvas","creditLine":"Museum purchase","exhibition":[{"id":3397,"priority":null},{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76290,"collectionID":3397,"collectionType":"exhibition","description":"La Pia de' Tolomei is the last major painting completed by Dante Gabriel Rossetti. It depicts La Pia, a character from The Divine Comedy by Italian poet Dante Alighieri (circa 1265\u20131321). La Pia married an Italian magistrate who kept her in a castle in the swamps of Maremma where she died under mysterious circumstances. Rossetti captures the lonely and contemplative young woman toying with her wedding ring. A sundial in the foreground suggests the passage of time, while old love letters from her husband underscore La Pia\u2019s marital ties.","displayDescription":"La Pia de' Tolomei is the last major painting completed by Dante Gabriel Rossetti. It depicts La Pia, a character from The Divine Comedy by Italian poet Dante Alighieri (circa 1265\u20131321). La Pia married an Italian magistrate who kept her in a castle in the swamps of Maremma where she died under mysterious circumstances. Rossetti captures the lonely and contemplative young woman toying with her wedding ring. A sundial in the foreground suggests the passage of time, while old love letters from her husband underscore La Pia\u2019s marital ties."},{"descriptionID":78705,"collectionID":3476,"collectionType":"exhibition","description":"The epic, 14th-century poem The Divine Comedy includes the tragic story of La Pia de' Tolomei. Held captive in a castle in Italy by her jealous and powerful husband, La Pia\u2019s tale of love, resilience, and eventual demise is conveyed through symbolic imagery. Black ravens, a sundial, discarded love letters, a prayer book and beads, and clinging ivy contribute to an image of a pious and faithful wife who put her trust in the wrong person.","displayDescription":"The epic, 14th-century poem The Divine Comedy includes the tragic story of La Pia de' Tolomei. Held captive in a castle in Italy by her jealous and powerful husband, La Pia\u2019s tale of love, resilience, and eventual demise is conveyed through symbolic imagery. Black ravens, a sundial, discarded love letters, a prayer book and beads, and clinging ivy contribute to an image of a pious and faithful wife who put her trust in the wrong person."}],"dimensionalData":[{"dimID":10003,"dimensions":"41 1\/4 x 47 1\/2 in","description":"Canvas\/Support"},{"dimID":104948,"dimensions":"57 x 62 1\/2 x 3 1\/2 in","description":"Frame Dimensions"},{"dimID":15713,"dimensions":"104.8 x 120.6 cm","description":"Canvas\/Support"}]},{"id":586,"objectID":9953,"title":"The Ballad of the Jealous Lover of Lone Green Valley","accessionNumber":"1958.0055","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, S1","alias":"","objectDate":"1934","material":"oil, tempera, canvas, aluminum","creditLine":"Museum purchase: Elizabeth M. Watkins Fund","exhibition":[{"id":3397,"priority":null},{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76294,"collectionID":3397,"collectionType":"exhibition","description":"In Ballad of the Jealous Lover, musicians bring to life a folk song of violence and betrayal, suggesting the power of folk music and storytelling in the American imagination. In the ballad, Edward stabs his lover in a jealous rage only to discover too late that she was innocent. Thomas Hart Benton was among the Regionalist artists, producing imagery that was typically Midwestern in subject but archetypically American in content. Benton observed and mythologized the heroes, outlaws, tragedies, and traditions of American folk life, finding universal themes in local culture.","displayDescription":"In Ballad of the Jealous Lover, musicians bring to life a folk song of violence and betrayal, suggesting the power of folk music and storytelling in the American imagination. In the ballad, Edward stabs his lover in a jealous rage only to discover too late that she was innocent. Thomas Hart Benton was among the Regionalist artists, producing imagery that was typically Midwestern in subject but archetypically American in content. Benton observed and mythologized the heroes, outlaws, tragedies, and traditions of American folk life, finding universal themes in local culture."},{"descriptionID":78784,"collectionID":3476,"collectionType":"exhibition","description":"Swirling ribbons of color draw the viewer\u2019s eye from the trio of musicians through the dream-like landscape to a scene of violence and betrayal. Thomas Hart Benton brought to life this scene from a traditional Ozark ballad, illustrating the power of American folk music to tell a tragic story of jealously and unjust accusations.","displayDescription":"Swirling ribbons of color draw the viewer\u2019s eye from the trio of musicians through the dream-like landscape to a scene of violence and betrayal. Thomas Hart Benton brought to life this scene from a traditional Ozark ballad, illustrating the power of American folk music to tell a tragic story of jealously and unjust accusations."}],"dimensionalData":[{"dimID":10009,"dimensions":"104.8 x 133.4 cm","description":"Canvas\/Support"},{"dimID":21942,"dimensions":"41 1\/4 x 52 1\/2 in","description":"Canvas\/Support"},{"dimID":170398,"dimensions":"51 1\/2 x 62 1\/4 x 4 in","description":"Frame Dimensions"}]},{"id":587,"objectID":10076,"title":"The Muse of Music","accessionNumber":"1959.0042","geoAssoc":"Germany","currLoc":"405, Michaelis Gallery, 405, S1","alias":"","objectDate":"early-mid 1800s","material":"oil, canvas","creditLine":"Gift of Mr. and Mrs. Oscar Salzer in honor of Mr. and Mrs. Ed Maser","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78786,"collectionID":3476,"collectionType":"exhibition","description":"This seated woman holding a musical instrument looks to the sky, perhaps seeking inspiration from the muse of music or another spiritual source. She is poised to write her thoughts on paper. Rather than playing the lyre she holds she appears to be listening to sounds around her. Can music empower with thoughts as well as sounds?","displayDescription":"This seated woman holding a musical instrument looks to the sky, perhaps seeking inspiration from the muse of music or another spiritual source. She is poised to write her thoughts on paper. Rather than playing the lyre she holds she appears to be listening to sounds around her. Can music empower with thoughts as well as sounds?"}],"dimensionalData":[{"dimID":49841,"dimensions":"73.7 x 61.2 cm","description":"Canvas\/Support"},{"dimID":49842,"dimensions":"29 x 24 1\/8 in","description":"Canvas\/Support"},{"dimID":169862,"dimensions":"34 1\/2 x 29 1\/2 x 2 1\/4 in","description":"Frame Dimensions"}]},{"id":588,"objectID":10103,"title":"Near Sundown","accessionNumber":"1959.0070","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, E1","alias":"","objectDate":"1933","material":"oil, hardboard","creditLine":"Gift of Mr. George Cukor","exhibition":[{"id":3397,"priority":null},{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78733,"collectionID":3476,"collectionType":"exhibition","description":"With an expansive view of rolling hills and neatly patterned fields bordered by leafy trees, Grant Wood\u2019s landscape portrays nature as property that is controlled by humans. Although it was created during a period of economic and environmental stress amidst the Great Depression and Dust Bowl, the painting conveys prosperity and wealth through land ownership.","displayDescription":"With an expansive view of rolling hills and neatly patterned fields bordered by leafy trees, Grant Wood\u2019s landscape portrays nature as property that is controlled by humans. Although it was created during a period of economic and environmental stress amidst the Great Depression and Dust Bowl, the painting conveys prosperity and wealth through land ownership."},{"descriptionID":76298,"collectionID":3397,"collectionType":"exhibition","description":"Award-winning actress Katharine Hepburn purchased this painting shortly after it was created and later gave the painting to movie director George Cukor, who hung it in his dining room for many years. Hepburn mentions the painting in her autobiography, where she casts doubt over the gift of the painting to Cukor, declaring: \u201cGeorge loved it, so he took it.\u201d Cukor loaned the work to the Spencer Museum for its 1978 opening and the painting entered the collection after his death in 1983. Near Sundown features the subtle, undulating hills of Wood\u2019s home state of Iowa, but its circuitous journey to the Spencer provides an engaging tale behind the pigment.","displayDescription":"Award-winning actress Katharine Hepburn purchased this painting shortly after it was created and later gave the painting to movie director George Cukor, who hung it in his dining room for many years. Hepburn mentions the painting in her autobiography, where she casts doubt over the gift of the painting to Cukor, declaring: \u201cGeorge loved it, so he took it.\u201d Cukor loaned the work to the Spencer Museum for its 1978 opening and the painting entered the collection after his death in 1983. Near Sundown features the subtle, undulating hills of Wood\u2019s home state of Iowa, but its circuitous journey to the Spencer provides an engaging tale behind the pigment."}],"dimensionalData":[{"dimID":80939,"dimensions":"38.1 x 67.3 cm","description":"Canvas\/Support"},{"dimID":80940,"dimensions":"15 x 26 1\/2 in","description":"Canvas\/Support"},{"dimID":80941,"dimensions":"21 3\/4 x 33 1\/4 x 2 1\/2 in","description":"Frame Dimensions"}]},{"id":589,"objectID":10163,"title":"Portrait of Mrs. Daniel Sargent Curtis","accessionNumber":"1960.0059","geoAssoc":"Venice, Italy","currLoc":"405, Michaelis Gallery, 405, W1","alias":"","objectDate":"1882","material":"oil, canvas","creditLine":"Gift from the Samuel H. Kress Study Collection","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78770,"collectionID":3476,"collectionType":"exhibition","description":"Ariana Randolph Wormeley Curtis (1833\u20131922) ran a bustling, opulent household in Venice, Italy. Her portrayal in modest dress and somber tones may reflect social beliefs of the time that \u201colder\u201d women should wear dark, sober colors (she is only 49). In 1868, at the age of 35, Curtis published the play The Spirit of Seventy-Six: Or, The Coming Woman, A Prophetic Drama, which envisions a fanciful future where women hold professional offices while men tend to children.","displayDescription":"Ariana Randolph Wormeley Curtis (1833\u20131922) ran a bustling, opulent household in Venice, Italy. Her portrayal in modest dress and somber tones may reflect social beliefs of the time that \u201colder\u201d women should wear dark, sober colors (she is only 49). In 1868, at the age of 35, Curtis published the play The Spirit of Seventy-Six: Or, The Coming Woman, A Prophetic Drama, which envisions a fanciful future where women hold professional offices while men tend to children."}],"dimensionalData":[{"dimID":88874,"dimensions":"34 3\/8 x 27 3\/4 x 3 1\/4 in","description":"Frame Dimensions"},{"dimID":23824,"dimensions":"71.1 x 53.3 cm","description":"Canvas\/Support"},{"dimID":23825,"dimensions":"28 x 21 in","description":"Canvas\/Support"}]},{"id":590,"objectID":10188,"title":"self-portraits","accessionNumber":"1961.0004","geoAssoc":"Germany","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"1914","material":"oil, composition board","creditLine":"Museum purchase","exhibition":[{"id":3397,"priority":null},{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78773,"collectionID":3476,"collectionType":"exhibition","description":"Created amidst the rumblings of the First World War (1914\u20131918), this painting presents a forceful exploration of self-identity. The artist\u2019s brightly painted signature \u201cDIX\u201d provides a central point around which he presents himself in multiple guises. Are these expressions of military strength, the destructive forces of war, the creative power of art, or Dix\u2019s own dreams and visions?","displayDescription":"Created amidst the rumblings of the First World War (1914\u20131918), this painting presents a forceful exploration of self-identity. The artist\u2019s brightly painted signature \u201cDIX\u201d provides a central point around which he presents himself in multiple guises. Are these expressions of military strength, the destructive forces of war, the creative power of art, or Dix\u2019s own dreams and visions?"},{"descriptionID":76285,"collectionID":3397,"collectionType":"exhibition","description":"Otto Dix volunteered in Dresden, Germany, for military service at the outbreak of World War I in 1914. By the fall of 1915, he was a machine gunner and platoon commander in France, Flanders, Poland, and Russia and witnessed some of the most harrowing chapters of WWI. This untitled self-portrait is best understood as an exploration of the self in various guises that seems to culminate in two helmeted figures near the central signature in red.","displayDescription":"Otto Dix volunteered in Dresden, Germany, for military service at the outbreak of World War I in 1914. By the fall of 1915, he was a machine gunner and platoon commander in France, Flanders, Poland, and Russia and witnessed some of the most harrowing chapters of WWI. This untitled self-portrait is best understood as an exploration of the self in various guises that seems to culminate in two helmeted figures near the central signature in red."}],"dimensionalData":[{"dimID":23828,"dimensions":"70.5 x 54.6 cm","description":"Canvas\/Support"},{"dimID":23829,"dimensions":"27 3\/4 x 21 1\/2 in","description":"Canvas\/Support"},{"dimID":109282,"dimensions":"36 5\/8 x 31 5\/8 x 2 1\/8 in","description":"Frame Dimensions"}]},{"id":591,"objectID":10520,"title":"miniature painting of Krishna with milkmaids","accessionNumber":"1967.0058","geoAssoc":"British Raj (present-day India), possibly Rajputana (present-day Rajastan)","currLoc":"405, Michaelis Gallery, 405, C2","alias":"","objectDate":"early 1900s","material":"paint, camel bone","creditLine":"Gift of Mr. and Mrs. J. W. Starr","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78802,"collectionID":3476,"collectionType":"exhibition","description":"The young boy at the center of this painting is the Hindu deity Krishna. Based on the story of his childhood, Krishna is often depicted as a young cowherd playing a flute, surrounded by cows and milkmaids. This emphasizes his position as the divine herdsman. Krishna is identified by blue skin, a yellow cloth, and a gold turban crowned with a peacock feather.","displayDescription":"The young boy at the center of this painting is the Hindu deity Krishna. Based on the story of his childhood, Krishna is often depicted as a young cowherd playing a flute, surrounded by cows and milkmaids. This emphasizes his position as the divine herdsman. Krishna is identified by blue skin, a yellow cloth, and a gold turban crowned with a peacock feather."}],"dimensionalData":[{"dimID":170293,"dimensions":"19.7 x 13.8 x 0.7 cm","description":"Object Height\/Width\/Depth"},{"dimID":170294,"dimensions":"7 3\/4 x 5 7\/16 x 1\/4 in","description":"Object Height\/Width\/Depth"}]},{"id":592,"objectID":11236,"title":"Pan of Rohallion","accessionNumber":"1971.0158","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, C2","alias":"","objectDate":"cast 1894, modeled 1890","material":"bronze, casting","creditLine":"Museum purchase: Patrons and Benefactors Fund","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78763,"collectionID":3476,"collectionType":"exhibition","description":"Pan, the Greek god of forests and shepherds, wears a goat headdress and fur draped across his shoulders. He stands on an orb surrounded by fish while playing pipes, another symbol of this musical deity. This sculpture is a small copy of a life-size bronze fountain figure created for the New Jersey home of Edward Adams, whose mansion was called Rohallion, meaning \u201clittle red hill.\u201d","displayDescription":"Pan, the Greek god of forests and shepherds, wears a goat headdress and fur draped across his shoulders. He stands on an orb surrounded by fish while playing pipes, another symbol of this musical deity. This sculpture is a small copy of a life-size bronze fountain figure created for the New Jersey home of Edward Adams, whose mansion was called Rohallion, meaning \u201clittle red hill.\u201d"}],"dimensionalData":[{"dimID":46550,"dimensions":"71.1 x 25.4 x 30.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":46551,"dimensions":"28 x 10 x 12 in","description":"Object Height\/Width\/Depth"}]},{"id":593,"objectID":12454,"title":"Achilles Discovered with the Daughters of Lycomedes","accessionNumber":"1975.0035","geoAssoc":"Venice, Italy","currLoc":"405, Michaelis Gallery, 405, S1","alias":"","objectDate":"early 1700s","material":"oil, canvas","creditLine":"Gift of A.W. Kincade","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78787,"collectionID":3476,"collectionType":"exhibition","description":"This painting tells the story of Achilles, a hero from Greek mythology. After his mother learned he was destined to die in the Trojan War, Achilles was sent to an island disguised as a maiden. A dramatic scene unfolds as a disguised Achilles is captivated by the sword he holds while others continue to admire the trinkets laid out before them. His attraction to the sword gave away his secret and Odysseus took him to the battlefront.","displayDescription":"This painting tells the story of Achilles, a hero from Greek mythology. After his mother learned he was destined to die in the Trojan War, Achilles was sent to an island disguised as a maiden. A dramatic scene unfolds as a disguised Achilles is captivated by the sword he holds while others continue to admire the trinkets laid out before them. His attraction to the sword gave away his secret and Odysseus took him to the battlefront."}],"dimensionalData":[{"dimID":155188,"dimensions":"45 lbs","description":"Weight"},{"dimID":49315,"dimensions":"97.2 x 132.1 cm","description":"Canvas\/Support"},{"dimID":49316,"dimensions":"38 1\/4 x 52 in","description":"Canvas\/Support"},{"dimID":170327,"dimensions":"45 3\/4 x 59 1\/2 x 2 1\/4 in","description":"Frame Dimensions"}]},{"id":594,"objectID":13389,"title":"micromosaic of an amphora with flowers","accessionNumber":"1980.0182","geoAssoc":"Italy","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"1800s","material":"mosaic","creditLine":"Gift of Mr. and Mrs. Richard Kane","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78788,"collectionID":3476,"collectionType":"exhibition","description":"This micromosaic was made using at least 8,500 glass pieces painstakingly placed to create this image of a two-handled Greco-Roman jar, or amphora, with a ring of pansies. Are the creatures on top of the amphora winged insects or flying reptiles? Or are they creatures of fantasy? The artist possibly adapted the amphora design from engravings by 18th-century Italian printmaker Benigno Bossi, adding the colorful pansies to the composition.","displayDescription":"This micromosaic was made using at least 8,500 glass pieces painstakingly placed to create this image of a two-handled Greco-Roman jar, or amphora, with a ring of pansies. Are the creatures on top of the amphora winged insects or flying reptiles? Or are they creatures of fantasy? The artist possibly adapted the amphora design from engravings by 18th-century Italian printmaker Benigno Bossi, adding the colorful pansies to the composition."}],"dimensionalData":[{"dimID":159915,"dimensions":"24.5 x 16.5 cm","description":"Image Dimensions Height\/Width"},{"dimID":159916,"dimensions":"9 5\/8 x 6 1\/2 in","description":"Image Dimensions Height\/Width"},{"dimID":159917,"dimensions":"57 x 49 cm","description":"Frame Dimensions"},{"dimID":159918,"dimensions":"22 7\/16 x 19 5\/16 in","description":"Frame Dimensions"}]},{"id":595,"objectID":15023,"title":"Hilda and Studio Light","accessionNumber":"1983.0044","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"1935","material":"oil, canvas","creditLine":"Bequest of Ruth H. Bohan","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78790,"collectionID":3476,"collectionType":"exhibition","description":"Ruth Harris Bohan captures her subject, identified only as Hilda, in a contemplative mood. The natural light source and corresponding shadows set a relaxed tone. Hilda gazes past the viewer with her hand gently supporting her face. Her ruffled blouse contrasts with the background sketch of three nudes on the wall behind her. Although we do not know Hilda\u2019s identity, her portrait sheds a little light on her personality.","displayDescription":"Ruth Harris Bohan captures her subject, identified only as Hilda, in a contemplative mood. The natural light source and corresponding shadows set a relaxed tone. Hilda gazes past the viewer with her hand gently supporting her face. Her ruffled blouse contrasts with the background sketch of three nudes on the wall behind her. Although we do not know Hilda\u2019s identity, her portrait sheds a little light on her personality."}],"dimensionalData":[{"dimID":170324,"dimensions":"24 1\/4 x 28 x 2 in","description":"Frame Dimensions"},{"dimID":48025,"dimensions":"40.7 x 50.8 cm","description":"Canvas\/Support"},{"dimID":48026,"dimensions":"16 x 20 in","description":"Canvas\/Support"}]},{"id":596,"objectID":16099,"title":"Chaotic Lip","accessionNumber":"1987.0035","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"1986","material":"oil, canvas","creditLine":"Museum purchase: Friends of the Art Museum and Helen Foresman Spencer Art Acquisition Fund","exhibition":[{"id":3397,"priority":null},{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76206,"collectionID":3397,"collectionType":"exhibition","description":"Elizabeth Murray experimented with painting for nearly three decades, beginning at a time when many American artists were questioning the traditional distinctions between painting and sculpture. Chaotic Lip shows Murray\u2019s fascination with such contradictions. It may be difficult for the viewer to decide whether the piece is a painted sculpture or a sculpted painting.  \r\n\r\nMurray deliberately chooses muddy colors, an oddly shaped canvas, and a crudely half-painted style to present her strange, biomorphic images. She began her career studying illustration and cartooning. In this piece, an exaggerated pair of lips appears in the upper part and as a cut-out on a square in the center. Murray also tries to convey a sense of spontaneity by leaving staples, frayed edges, and unpainted areas of canvas exposed as if the work were unfinished.","displayDescription":"Elizabeth Murray experimented with painting for nearly three decades, beginning at a time when many American artists were questioning the traditional distinctions between painting and sculpture. Chaotic Lip shows Murray\u2019s fascination with such contradictions. It may be difficult for the viewer to decide whether the piece is a painted sculpture or a sculpted painting.  \r\n\r\nMurray deliberately chooses muddy colors, an oddly shaped canvas, and a crudely half-painted style to present her strange, biomorphic images. She began her career studying illustration and cartooning. In this piece, an exaggerated pair of lips appears in the upper part and as a cut-out on a square in the center. Murray also tries to convey a sense of spontaneity by leaving staples, frayed edges, and unpainted areas of canvas exposed as if the work were unfinished."},{"descriptionID":78791,"collectionID":3476,"collectionType":"exhibition","description":"Is this artwork a painted sculpture or a sculpted painting? Elizabeth Murray curves and bends the shape of this large canvas and leaves staples, frayed edges, and unpainted areas exposed. Murray was fascinated with contradictions in art and often tried to challenge her own rules for creating. Does the power of this piece come from its striking large size, or does power emerge from its sensuous lines and forms?","displayDescription":"Is this artwork a painted sculpture or a sculpted painting? Elizabeth Murray curves and bends the shape of this large canvas and leaves staples, frayed edges, and unpainted areas exposed. Murray was fascinated with contradictions in art and often tried to challenge her own rules for creating. Does the power of this piece come from its striking large size, or does power emerge from its sensuous lines and forms?"}],"dimensionalData":[{"dimID":65263,"dimensions":"298.5 x 219.7 x 30.5 cm","description":"Object Length\/Width\/Depth"},{"dimID":65265,"dimensions":"117 1\/2 x 86 1\/2 x 12 in","description":"Object Length\/Width\/Depth"}]},{"id":597,"objectID":16823,"title":"The Deluge","accessionNumber":"1989.0030","geoAssoc":"Belgium","currLoc":"405, Michaelis Gallery, 405, E1","alias":"","objectDate":"circa 1655","material":"oil, copper","creditLine":"Museum purchase: State funds and Gift of Mrs. Elizabeth M. Drey and Mr. and Mrs. John H. Goodwin by exchange","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78734,"collectionID":3476,"collectionType":"exhibition","description":"Stories of a great flood that washes away civilization to redeem the earth and its inhabitants appear in many cultural traditions. This painting draws on the story of Noah and the Ark, an account shared across Judaism, Christianity, and Islam. The foreground depicts humans struggling for survival while in the distance the cresting ark signals hope beneath parting skies and beams of light.","displayDescription":"Stories of a great flood that washes away civilization to redeem the earth and its inhabitants appear in many cultural traditions. This painting draws on the story of Noah and the Ark, an account shared across Judaism, Christianity, and Islam. The foreground depicts humans struggling for survival while in the distance the cresting ark signals hope beneath parting skies and beams of light."}],"dimensionalData":[{"dimID":49601,"dimensions":"43.2 x 52.5 cm","description":"Canvas\/Support"},{"dimID":49602,"dimensions":"17 x 20 5\/8 in","description":"Canvas\/Support"},{"dimID":169863,"dimensions":"24 1\/2 x 30 1\/2 x 1 1\/2 in","description":"Frame Dimensions"}]},{"id":598,"objectID":16853,"title":"Portrait of a Young Boy","accessionNumber":"1989.0061","geoAssoc":"France","currLoc":"405, Michaelis Gallery, 405, W1","alias":"","objectDate":"circa 1782","material":"oil, canvas","creditLine":"Museum purchase: Gift of Mr. and Mrs. R. Crosby Kemper Jr.","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78769,"collectionID":3476,"collectionType":"exhibition","description":"The young boy in this portrait appears in several paintings by Jean-Honor\u00e9 Fragonard and may indeed be the artist\u2019s son, Alexandre-\u00c9variste, who was known affectionately within the family as \u201cMonsieur Fanfan.\u201d Alexandre-\u00c9variste would later become a painter himself, with much of his early training in art coming from his father.","displayDescription":"The young boy in this portrait appears in several paintings by Jean-Honor\u00e9 Fragonard and may indeed be the artist\u2019s son, Alexandre-\u00c9variste, who was known affectionately within the family as \u201cMonsieur Fanfan.\u201d Alexandre-\u00c9variste would later become a painter himself, with much of his early training in art coming from his father."}],"dimensionalData":[{"dimID":49756,"dimensions":"19.1 x 14.1 cm","description":"Canvas\/Support"},{"dimID":49757,"dimensions":"7 1\/2 x 5 1\/2 in","description":"Canvas\/Support"},{"dimID":170309,"dimensions":"12 3\/4 x 10 1\/2 x 1 1\/2 in","description":"Frame Dimensions"}]},{"id":599,"objectID":17356,"title":"Portrait of Charlotte Sullivan","accessionNumber":"1991.0089","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"1940\u20131975","material":"oil, canvas","creditLine":"Gift of Marcia and Eliot Berkley","exhibition":[{"id":3397,"priority":null},{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76217,"collectionID":3397,"collectionType":"exhibition","description":"Charlotte Sullivan was a model for the Kansas City Art Institute in Kansas City, Missouri. A talented and popular model, Sullivan was successful at the Art Institute despite the oppressive Jim Crow laws that enforced racial segregation during much of her time there. Leonard Pryor, the\u202fschool\u2019s dean at the time, eventually made Sullivan supervisor of the models. In this portrait, Sullivan\u2019s direct eye contact and serious expression convey her confidence as an experienced model.","displayDescription":"Charlotte Sullivan was a model for the Kansas City Art Institute in Kansas City, Missouri. A talented and popular model, Sullivan was successful at the Art Institute despite the oppressive Jim Crow laws that enforced racial segregation during much of her time there. Leonard Pryor, the\u202fschool\u2019s dean at the time, eventually made Sullivan supervisor of the models. In this portrait, Sullivan\u2019s direct eye contact and serious expression convey her confidence as an experienced model."},{"descriptionID":78706,"collectionID":3476,"collectionType":"exhibition","description":"Charlotte Sullivan (1916\u20131985) served as a studio model and administrator for the Kansas City Art Institute in Kansas City, Missouri. Talented and popular, Sullivan was successful at the Art Institute despite oppressive Jim Crow laws that enforced racial segregation during much of her tenure. In this portrait, Sullivan\u2019s direct eye contact and serious expression convey the confidence of an experienced model.","displayDescription":"Charlotte Sullivan (1916\u20131985) served as a studio model and administrator for the Kansas City Art Institute in Kansas City, Missouri. Talented and popular, Sullivan was successful at the Art Institute despite oppressive Jim Crow laws that enforced racial segregation during much of her tenure. In this portrait, Sullivan\u2019s direct eye contact and serious expression convey the confidence of an experienced model."}],"dimensionalData":[{"dimID":23891,"dimensions":"76.2 x 61 cm","description":"Canvas\/Support"},{"dimID":23892,"dimensions":"30 x 24 in","description":"Canvas\/Support"},{"dimID":155811,"dimensions":"33 x 27 in","description":"Frame Dimensions"}]},{"id":600,"objectID":18660,"title":"Haunted by the Ghosts of Our Own Making","accessionNumber":"1996.0008","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, E1","alias":"","objectDate":"1995","material":"oil, canvas","creditLine":"Museum purchase","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78694,"collectionID":3476,"collectionType":"exhibition","description":"Ghostly skeletal servers attend a vacant table prepared for a harvest feast. While powerful forces may seem invisible, Hollis Sigler makes her message clear through various inscriptions, with the longest around the frame: \u201cAlthough the use of DDT has been banned by the Government for years, its long-term effects are now being recognized. The cancer-causing potential of pesticides in use today may be hidden for years to come.\u201d","displayDescription":"Ghostly skeletal servers attend a vacant table prepared for a harvest feast. While powerful forces may seem invisible, Hollis Sigler makes her message clear through various inscriptions, with the longest around the frame: \u201cAlthough the use of DDT has been banned by the Government for years, its long-term effects are now being recognized. The cancer-causing potential of pesticides in use today may be hidden for years to come.\u201d"}],"dimensionalData":[{"dimID":49467,"dimensions":"32 x 36 in","description":"Frame Dimensions"}]},{"id":601,"objectID":18834,"title":"Calypso Contemplating the Departure of Ulysses","accessionNumber":"1996.0179","geoAssoc":"Switzerland","currLoc":"405, Michaelis Gallery, 405, W1","alias":"","objectDate":"1775\u20131778","material":"oil, copper","creditLine":"Gift of Dorothea Simpson Meriwether","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78766,"collectionID":3476,"collectionType":"exhibition","description":"Women abandoned by men in ancient Greek mythology, such as the island nymph Calypso, were a popular subject for Angelica Kauffmann\u2019s paintings. Her innovative depictions of femininity and female agency focus on the thoughts, emotions, and power of female protagonists. These often generic representations can be understood in some ways as a self-portrait of the highly accomplished artist, conveying her resilience and ability to realize her professional ambitions in a male-dominated field.\r\n\r\nAdditional label content:\r\nIn the ancient Greek epic poem The Odyssey attributed to Homer (eighth century BCE), the hero Odysseus (Latin name Ulysses) seeks to return to his kingdom of Ithaka following the Trojan War. On the way, he shipwrecks on the island of Ogygia, the home of the nymph Calypso, who falls in love with him. She promises him eternal youth and immortality if he remains with her. After seven years together, he abandons her and resumes his travels to return to his wife Penelope, a figure that Angelica Kauffmann also painted. Kauffmann\u2019s portrayals of Calypso and Penelope feature among her most popular works and connect to themes about female loyalty, loss, and fortitude.","displayDescription":"Women abandoned by men in ancient Greek mythology, such as the island nymph Calypso, were a popular subject for Angelica Kauffmann\u2019s paintings. Her innovative depictions of femininity and female agency focus on the thoughts, emotions, and power of female protagonists. These often generic representations can be understood in some ways as a self-portrait of the highly accomplished artist, conveying her resilience and ability to realize her professional ambitions in a male-dominated field.\r\n\r\nAdditional label content:\r\nIn the ancient Greek epic poem The Odyssey attributed to Homer (eighth century BCE), the hero Odysseus (Latin name Ulysses) seeks to return to his kingdom of Ithaka following the Trojan War. On the way, he shipwrecks on the island of Ogygia, the home of the nymph Calypso, who falls in love with him. She promises him eternal youth and immortality if he remains with her. After seven years together, he abandons her and resumes his travels to return to his wife Penelope, a figure that Angelica Kauffmann also painted. Kauffmann\u2019s portrayals of Calypso and Penelope feature among her most popular works and connect to themes about female loyalty, loss, and fortitude."}],"dimensionalData":[{"dimID":11903,"dimensions":"26.5 x 20.7 cm","description":"Canvas\/Support"},{"dimID":50243,"dimensions":"10 7\/16 x 8 1\/8 in","description":"Canvas\/Support"}]},{"id":602,"objectID":20771,"title":"Caffeine","accessionNumber":"2000.0074","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"1994\u20131999","material":"beads, glass, wire, mixed media","creditLine":"Museum purchase: Friends of the Art Museum","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78793,"collectionID":3476,"collectionType":"exhibition","description":"Joyce Scott often uses humor to tackle difficult social issues such as addiction, racism, incest, and violence. This sculpture portrays the demon of caffeine and its control over people who consume it. Caffeine, appearing here as a blue-mouthed yellow serpent, captivates and tempts like the aroma of a freshly brewed pot of coffee. Does caffeine power us or have power over us?","displayDescription":"Joyce Scott often uses humor to tackle difficult social issues such as addiction, racism, incest, and violence. This sculpture portrays the demon of caffeine and its control over people who consume it. Caffeine, appearing here as a blue-mouthed yellow serpent, captivates and tempts like the aroma of a freshly brewed pot of coffee. Does caffeine power us or have power over us?"}],"dimensionalData":[{"dimID":156856,"dimensions":"17 5\/16 x 20 1\/16 x 9 13\/16 in","description":"Object Height\/Width\/Depth"},{"dimID":156855,"dimensions":"44 x 51 x 25 cm","description":"Object Height\/Width\/Depth"}]},{"id":603,"objectID":20813,"title":"Alpha-Omega: Water Tower #5","accessionNumber":"2000.0120","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"1995\u20131999","material":"sterling silver, gold plating, rhodium plating, pearls, mahogany","creditLine":"Museum purchase: Peter T. Bohan Art Acquisition Fund","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78794,"collectionID":3476,"collectionType":"exhibition","description":"Fabricated by hand, this work pays homage to the many water towers that dot the Midwestern landscape. Water towers circulate a town\u2019s water supply, making them essential to communities. Mawdsley based this form on a standing cup, a luxury item of the late European Renaissance (1520\u20131600). This sculpture is rich in tiny, handcrafted details, including an air-raid siren, Christian crosses, a fire extinguisher, and a tiny crate of church organ pipes.","displayDescription":"Fabricated by hand, this work pays homage to the many water towers that dot the Midwestern landscape. Water towers circulate a town\u2019s water supply, making them essential to communities. Mawdsley based this form on a standing cup, a luxury item of the late European Renaissance (1520\u20131600). This sculpture is rich in tiny, handcrafted details, including an air-raid siren, Christian crosses, a fire extinguisher, and a tiny crate of church organ pipes."}],"dimensionalData":[{"dimID":13008,"dimensions":"56.5 x 33 x 28.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":46553,"dimensions":"22 1\/4 x 13 x 11 1\/4 in","description":"Object Height\/Width\/Depth"}]},{"id":604,"objectID":20919,"title":"Untitled #751 (Craig's Piece)","accessionNumber":"2001.0024","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"1992\u20131993","material":"wax, wire","creditLine":"Museum purchase: Peter T. Bohan Art Acquisition Fund","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78795,"collectionID":3476,"collectionType":"exhibition","description":"Poured over a steel framework, the wax used to create this sculpture was developed by a chemist in collaboration with the artist. Melted candles appear within the wax structure. Defying the idea of a sculpture displayed on a pedestal, this sculpture hangs suspended, suggesting movement like the dance choreography that inspired it. Lace created by the artist\u2019s great-grandmother influenced the spidery form.","displayDescription":"Poured over a steel framework, the wax used to create this sculpture was developed by a chemist in collaboration with the artist. Melted candles appear within the wax structure. Defying the idea of a sculpture displayed on a pedestal, this sculpture hangs suspended, suggesting movement like the dance choreography that inspired it. Lace created by the artist\u2019s great-grandmother influenced the spidery form."}],"dimensionalData":[{"dimID":24920,"dimensions":"84 x 50 x 50 in","description":"Object Height\/Width\/Depth"},{"dimID":24921,"dimensions":"213.36 x 127 x 127 cm","description":"Object Height\/Width\/Depth"},{"dimID":165398,"dimensions":"approximately 150 lbs","description":"Weight"}]},{"id":605,"objectID":22691,"title":"Winter Flight","accessionNumber":"2003.0078.a,b","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, E1","alias":"","objectDate":"1988\u20131989","material":"oil, canvas","creditLine":"Museum purchase: Peter T. Bohan Art Acquisition Fund","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78760,"collectionID":3476,"collectionType":"exhibition","description":"\u201cI think our earth is sacred. We are so much a part of this earth, evolved to live here, in this atmosphere. I also think that the shapes in the landscape are abstract enough so that they can carry implied meaning that I can impart through that. It\u2019s transcendent in that it can refer to the unknown, those big questions of life\u2014birth and death and our existence here on earth.\u201d \r\n\u2014 Kay WalkingStick\r\n\r\nAdditional label content:\r\nKay WalkingStick further discusses landscape paintings and ideas of place: \u201cMy paintings aren\u2019t exact depictions of a place; they are based on the look and feel of a place,\u201d she says. \u201cLandscape paintings are depictions of nature re-organized by an artist. This is what landscape painters have always done.\u201d Why do you think she might have organized this painting as a diptych, with two square canvases framed together in a landscape format? What do they suggest about a place and connections to this place by the artist?","displayDescription":"\u201cI think our earth is sacred. We are so much a part of this earth, evolved to live here, in this atmosphere. I also think that the shapes in the landscape are abstract enough so that they can carry implied meaning that I can impart through that. It\u2019s transcendent in that it can refer to the unknown, those big questions of life\u2014birth and death and our existence here on earth.\u201d \r\n\u2014 Kay WalkingStick\r\n\r\nAdditional label content:\r\nKay WalkingStick further discusses landscape paintings and ideas of place: \u201cMy paintings aren\u2019t exact depictions of a place; they are based on the look and feel of a place,\u201d she says. \u201cLandscape paintings are depictions of nature re-organized by an artist. This is what landscape painters have always done.\u201d Why do you think she might have organized this painting as a diptych, with two square canvases framed together in a landscape format? What do they suggest about a place and connections to this place by the artist?"}],"dimensionalData":[{"dimID":60596,"dimensions":"left 51.4 x 51.4 x 8.6 cm","description":"Object Height\/Width\/Depth"},{"dimID":60597,"dimensions":"left 20 1\/4 x 20 1\/4 x 3 3\/8 in","description":"Object Height\/Width\/Depth"},{"dimID":60598,"dimensions":"right 50.8 x 50.5 x 2 cm","description":"Object Height\/Width\/Depth"},{"dimID":60599,"dimensions":"right 20 x 19 7\/8 x 3\/4 in","description":"Object Height\/Width\/Depth"}]},{"id":606,"objectID":28462,"title":"Frieze for a Music Room","accessionNumber":"2016.0157","geoAssoc":null,"currLoc":"405, Michaelis Gallery, 405, S1","alias":"","objectDate":"1915","material":"oil, canvas","creditLine":"Gift from the Albert Bloch Foundation and museum purchase: Helen Foresman Spencer Art Acquisition Fund","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78797,"collectionID":3476,"collectionType":"exhibition","description":"This multi-figure scene suggests the power of music across multiple senses. Pierrot or harlequin figures dance and play music in a landscape where impressions from different feelings seem to blend. Albert Bloch and his artistic circle in Germany in the 1910s were captivated by the idea of synesthesia, the ability to see sound or hear color. This work may have been a study for a wall or mural painting to embellish a room devoted to music.","displayDescription":"This multi-figure scene suggests the power of music across multiple senses. Pierrot or harlequin figures dance and play music in a landscape where impressions from different feelings seem to blend. Albert Bloch and his artistic circle in Germany in the 1910s were captivated by the idea of synesthesia, the ability to see sound or hear color. This work may have been a study for a wall or mural painting to embellish a room devoted to music."}],"dimensionalData":[{"dimID":170388,"dimensions":"29 x 104 1\/4 x 1 3\/4 in","description":"Frame Dimensions"}]},{"id":607,"objectID":29845,"title":"untitled (scenes of life)","accessionNumber":"2005.0191","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, S1","alias":"","objectDate":"circa 1958","material":"oil, window shade, hardboard","creditLine":"Museum purchase: Peter T. Bohan Art Acquisition Fund","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78798,"collectionID":3476,"collectionType":"exhibition","description":"Using an old window shade as her canvas, Clementine Hunter painted scenes from everyday life in her rural Louisiana town. Ringing the church bells, attending a baptism, picking cotton, and washing laundry tell the stories of her community. Growing up on a southern plantation, these were activities she knew well. Hunter said of her work \u201c\u2026I paint the history of my people. The things that happened to me and to the ones I know.\u201d","displayDescription":"Using an old window shade as her canvas, Clementine Hunter painted scenes from everyday life in her rural Louisiana town. Ringing the church bells, attending a baptism, picking cotton, and washing laundry tell the stories of her community. Growing up on a southern plantation, these were activities she knew well. Hunter said of her work \u201c\u2026I paint the history of my people. The things that happened to me and to the ones I know.\u201d"}],"dimensionalData":[{"dimID":58575,"dimensions":"80 x 89.5 cm","description":"Canvas\/Support"},{"dimID":58576,"dimensions":"31 1\/2 x 35 1\/4 in","description":"Canvas\/Support"},{"dimID":62085,"dimensions":"35 1\/4 x 39 3\/16 in","description":"Frame Dimensions"}]},{"id":608,"objectID":31410,"title":"#28 - That the revelation of incertitude made (by God) to the Intercessor (the Prophet) be my shield against persecution and harm.","accessionNumber":"2007.0071.07","geoAssoc":"Pikine, Senegal","currLoc":"405, Michaelis Gallery, 405, S1","alias":"","objectDate":"2003\u20132004","material":"paint, canvas","creditLine":"Museum purchase: Friends of the Art Museum","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78805,"collectionID":3476,"collectionType":"exhibition","description":"Artist and community activist Yelimane Fall gives powerful life to Arabic script and Sufi poetry through color, form, and movement. Describing himself as \u201cThe Messenger of Faith,\u201d he uses his art practice to share the anti-colonial ideas of Ahmadou Bamba, a saint, poet, and mystic. Through art, Fall brings healing to communities, particularly with younger generations in and around Dakar, Senegal.","displayDescription":"Artist and community activist Yelimane Fall gives powerful life to Arabic script and Sufi poetry through color, form, and movement. Describing himself as \u201cThe Messenger of Faith,\u201d he uses his art practice to share the anti-colonial ideas of Ahmadou Bamba, a saint, poet, and mystic. Through art, Fall brings healing to communities, particularly with younger generations in and around Dakar, Senegal."}],"dimensionalData":[{"dimID":83336,"dimensions":"48 1\/16 x 29 7\/8 in","description":"Object Height\/Width"},{"dimID":83330,"dimensions":"122 x 76 cm","description":"Object Height\/Width"}]},{"id":609,"objectID":32274,"title":"totem pole","accessionNumber":"2007.3118","geoAssoc":"Graham Island, British Columbia, Canada","currLoc":"405, Michaelis Gallery, 405, S1","alias":"","objectDate":"1937","material":"wood, paint, carving","creditLine":"Gift from the estate of Gertrude W. Green","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78800,"collectionID":3476,"collectionType":"exhibition","description":"A sea otter, an eagle, whales, a giant crab, a magical halibut, and a raven come together in this totem pole to visually tell the story of two traditional Haida myths. The Haida people of the Pacific Northwest Coast rely on the power of oral history to transmit cultural knowledge. These brightly painted, carved wooden creatures would be immediately recognizable to the Haida as characters from well-known stories.","displayDescription":"A sea otter, an eagle, whales, a giant crab, a magical halibut, and a raven come together in this totem pole to visually tell the story of two traditional Haida myths. The Haida people of the Pacific Northwest Coast rely on the power of oral history to transmit cultural knowledge. These brightly painted, carved wooden creatures would be immediately recognizable to the Haida as characters from well-known stories."}],"dimensionalData":[{"dimID":92069,"dimensions":"102 3\/4 x 11 3\/4 x 11 in","description":"Object Height\/Width\/Depth"},{"dimID":92068,"dimensions":"261 x 30 x 28 cm","description":"Object Height\/Width\/Depth"}]},{"id":610,"objectID":32382,"title":"men's comb","accessionNumber":"2007.0836","geoAssoc":"Angola","currLoc":"405, Michaelis Gallery, 405, W1","alias":"","objectDate":"late 1800s\u20131914","material":"wood, brass, carving","creditLine":"Gift of Claude D. Brown","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":91657,"dimensions":"18.5 x 8.5 x 2 cm","description":"Object Height\/Width\/Depth"},{"dimID":91658,"dimensions":"7 1\/4 x 3 3\/8 x 3\/4 in","description":"Object Height\/Width\/Depth"}]},{"id":611,"objectID":32399,"title":"sansa (thumb piano)","accessionNumber":"2007.0833","geoAssoc":"Angola","currLoc":"405, Michaelis Gallery, 405, C2","alias":"","objectDate":"late 1800s\u20131914","material":"wood, possibly iron, brass tacks, carving","creditLine":"Gift of Claude D. Brown","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":95303,"dimensions":"23 x 12.5 x 3.5 cm","description":"Object Length\/Width\/Depth"},{"dimID":95304,"dimensions":"9 1\/16 x 4 7\/8 x 1 3\/8 in","description":"Object Length\/Width\/Depth"}]},{"id":612,"objectID":32931,"title":"basket","accessionNumber":"2007.2091","geoAssoc":"Pit River, California, United States","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"plant fiber, weaving","creditLine":"Source unknown","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":88823,"dimensions":"8 5\/8 x 11 3\/8 in","description":"Object Height\/Diameter"},{"dimID":88822,"dimensions":"22 x 29 cm","description":"Object Height\/Diameter"}]},{"id":613,"objectID":33260,"title":"berry basket","accessionNumber":"2007.2364","geoAssoc":"British Columbia, Canada","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"cedar bark, plant fiber, coiling, imbricating","creditLine":"Source unknown","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":89524,"dimensions":"17.5 x 26 x 22 cm","description":"Object Height\/Width\/Length"},{"dimID":89525,"dimensions":"6 7\/8 x 10 1\/4 x 8 5\/8 in","description":"Object Height\/Width\/Length"}]},{"id":614,"objectID":34319,"title":"basket","accessionNumber":"2007.2083","geoAssoc":"Arizona, United States","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"willow, martynia, beads, coiling","creditLine":"Source unknown","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":88743,"dimensions":"20 x 26 cm","description":"Object Height\/Diameter"},{"dimID":88744,"dimensions":"7 7\/8 x 10 1\/4 in","description":"Object Height\/Width"}]},{"id":615,"objectID":34940,"title":"bowl","accessionNumber":"2007.4481","geoAssoc":"First Mesa, Arizona, United States","currLoc":"405, Michaelis Gallery, 405, C1","alias":"","objectDate":"1930","material":"ceramic, paint","creditLine":"Gift of Forrest E. Jones","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78761,"collectionID":3476,"collectionType":"exhibition","description":"Elva Nampeyo was the daughter of Fannie Nampeyo, granddaughter of Nampeyo of Hano.","displayDescription":"Elva Nampeyo was the daughter of Fannie Nampeyo, granddaughter of Nampeyo of Hano."}],"dimensionalData":[{"dimID":97210,"dimensions":"7 x 16 cm","description":"Object Height\/Diameter"},{"dimID":97211,"dimensions":"2 3\/4 x 6 1\/4 in","description":"Object Height\/Diameter"}]},{"id":616,"objectID":35042,"title":"Father Sky","accessionNumber":"2007.5824","geoAssoc":"New Mexico, United States","currLoc":"405, Michaelis Gallery, 405, E1","alias":"","objectDate":"late 1900s","material":"wood, sand, pigment","creditLine":"Gift of Forrest E. Jones","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78759,"collectionID":3476,"collectionType":"exhibition","description":"Artist David Lee inscribed on the back of Mother Earth: \u201cFrom the bosom of Mother Earth radiates the life giving energy of the sun, bringing fertility to the womb of Mother Earth, from whence springs the seeds of all living things. \/ Sands are natural colored rocks (ground).\u201d By using rocks to create the sands for his paintings, Lee maintains a direct connection between the natural, artistic, and spiritual realms.","displayDescription":"Artist David Lee inscribed on the back of Mother Earth: \u201cFrom the bosom of Mother Earth radiates the life giving energy of the sun, bringing fertility to the womb of Mother Earth, from whence springs the seeds of all living things. \/ Sands are natural colored rocks (ground).\u201d By using rocks to create the sands for his paintings, Lee maintains a direct connection between the natural, artistic, and spiritual realms."}],"dimensionalData":[{"dimID":102245,"dimensions":"30.5 x 15 cm","description":"Object Height\/Width"},{"dimID":170244,"dimensions":"16 3\/4 x 10 3\/4 x 1 1\/2 in","description":"Frame Dimensions"},{"dimID":102246,"dimensions":"12 x 5 7\/8 in","description":"Object Height\/Width"}]},{"id":617,"objectID":35043,"title":"Mother Earth","accessionNumber":"2007.5825","geoAssoc":"New Mexico, United States","currLoc":"405, Michaelis Gallery, 405, E1","alias":"","objectDate":"late 1900s","material":"wood, sand, pigment","creditLine":"Gift of Forrest E. Jones","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78695,"collectionID":3476,"collectionType":"exhibition","description":"Artist David Lee inscribed on the back of Mother Earth: \u201cFrom the bosom of Mother Earth radiates the life giving energy of the sun, bringing fertility to the womb of Mother Earth, from whence springs the seeds of all living things. \/ Sands are natural colored rocks (ground).\u201d By using rocks to create the sands for his paintings, Lee maintains a direct connection between the natural, artistic, and spiritual realms.","displayDescription":"Artist David Lee inscribed on the back of Mother Earth: \u201cFrom the bosom of Mother Earth radiates the life giving energy of the sun, bringing fertility to the womb of Mother Earth, from whence springs the seeds of all living things. \/ Sands are natural colored rocks (ground).\u201d By using rocks to create the sands for his paintings, Lee maintains a direct connection between the natural, artistic, and spiritual realms."}],"dimensionalData":[{"dimID":102249,"dimensions":"30.5 x 15 cm","description":"Object Height\/Width"},{"dimID":170245,"dimensions":"16 3\/4 x 10 3\/4 x 1 1\/2 in","description":"Frame Dimensions"},{"dimID":102250,"dimensions":"12 x 5 7\/8 in","description":"Object Height\/Width"}]},{"id":618,"objectID":35150,"title":"hair pick with Black fist","accessionNumber":"2007.0840","geoAssoc":"Kadugli, Kurduf\u0101n (present-day Southern Kordofan), Sudan","currLoc":"405, Michaelis Gallery, 405, W1","alias":"","objectDate":"circa 1979","material":"plastic, metal","creditLine":"Museum purchase: KUEA Funds","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":95315,"dimensions":"15 x 7.5 cm","description":"Object Height\/Width"},{"dimID":95316,"dimensions":"5 7\/8 x 2 15\/16 in","description":"Object Height\/Width"}]},{"id":619,"objectID":36962,"title":"jar","accessionNumber":"2007.4077","geoAssoc":"First Mesa, Arizona, United States","currLoc":"405, Michaelis Gallery, 405, C1","alias":"","objectDate":"early 1900s","material":"ceramic, paint","creditLine":"Gift from the Menninger Foundation","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78711,"collectionID":3476,"collectionType":"exhibition","description":"This jar, with its wide flat shoulder and intricate red and black designs, is an example of the style that Nampeyo is most famous for introducing. She was inspired to create this style of pottery by studying the designs on archaeological pot fragments, leading to a movement in Hopi pottery called Sikyatki Revival. This revival was carried on by Nampeyo\u2019s descendants and other artists in her Hopi community.","displayDescription":"This jar, with its wide flat shoulder and intricate red and black designs, is an example of the style that Nampeyo is most famous for introducing. She was inspired to create this style of pottery by studying the designs on archaeological pot fragments, leading to a movement in Hopi pottery called Sikyatki Revival. This revival was carried on by Nampeyo\u2019s descendants and other artists in her Hopi community."}],"dimensionalData":[{"dimID":96169,"dimensions":"8 1\/4 x 14 1\/8 in","description":"Object Height\/Diameter"},{"dimID":96168,"dimensions":"21 x 36 cm","description":"Object Height\/Diameter"}]},{"id":620,"objectID":38209,"title":"skeleton with guitar","accessionNumber":"2007.4318.01","geoAssoc":"Oaxaca, Mexico","currLoc":"405, Michaelis Gallery, 405, C2","alias":"","objectDate":"1985\u20131995","material":"ceramic, paint, metal, cotton, plastic","creditLine":"Museum purchase: Argersinger Fund","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78713,"collectionID":3476,"collectionType":"exhibition","description":"These four skeletal musicians make up a band with a clarinet player, two guitarists, and an accordion player. The ability of music to empower the listener or the musician can be enhanced by community performance. These figures were created for D\u00eda de los Muertos, or Day of the Dead festivities, which is why skeleton forms are used.","displayDescription":"These four skeletal musicians make up a band with a clarinet player, two guitarists, and an accordion player. The ability of music to empower the listener or the musician can be enhanced by community performance. These figures were created for D\u00eda de los Muertos, or Day of the Dead festivities, which is why skeleton forms are used."}],"dimensionalData":[{"dimID":96821,"dimensions":"7 5\/8 x 2 1\/2 x 1 9\/16 in","description":"Object Height\/Width\/Depth"},{"dimID":96820,"dimensions":"19.5 x 6.5 x 4 cm","description":"Object Height\/Width\/Depth"}]},{"id":621,"objectID":38210,"title":"skeleton with clarinet","accessionNumber":"2007.4318.02","geoAssoc":"Oaxaca, Mexico","currLoc":"405, Michaelis Gallery, 405, C2","alias":"","objectDate":"1985\u20131995","material":"ceramic, paint, metal, cotton, plastic","creditLine":"Museum purchase: Argersinger Fund","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78714,"collectionID":3476,"collectionType":"exhibition","description":"These four skeletal musicians make up a band with a clarinet player, two guitarists, and an accordion player. The ability of music to empower the listener or the musician can be enhanced by community performance. These figures were created for D\u00eda de los Muertos, or Day of the Dead festivities, which is why skeleton forms are used.","displayDescription":"These four skeletal musicians make up a band with a clarinet player, two guitarists, and an accordion player. The ability of music to empower the listener or the musician can be enhanced by community performance. These figures were created for D\u00eda de los Muertos, or Day of the Dead festivities, which is why skeleton forms are used."}],"dimensionalData":[{"dimID":96823,"dimensions":"7 7\/8 x 2 1\/2 x 2 1\/8 in","description":"Object Height\/Width\/Depth"},{"dimID":96822,"dimensions":"20 x 6.5 x 5.5 cm","description":"Object Height\/Width\/Depth"}]},{"id":622,"objectID":38211,"title":"skeleton with guitar","accessionNumber":"2007.4318.03","geoAssoc":"Oaxaca, Mexico","currLoc":"405, Michaelis Gallery, 405, C2","alias":"","objectDate":"1985\u20131995","material":"ceramic, paint, metal, cotton, plastic","creditLine":"Museum purchase: Argersinger Fund","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78715,"collectionID":3476,"collectionType":"exhibition","description":"These four skeletal musicians make up a band with a clarinet player, two guitarists, and an accordion player. The ability of music to empower the listener or the musician can be enhanced by community performance. These figures were created for D\u00eda de los Muertos, or Day of the Dead festivities, which is why skeleton forms are used.","displayDescription":"These four skeletal musicians make up a band with a clarinet player, two guitarists, and an accordion player. The ability of music to empower the listener or the musician can be enhanced by community performance. These figures were created for D\u00eda de los Muertos, or Day of the Dead festivities, which is why skeleton forms are used."}],"dimensionalData":[{"dimID":96825,"dimensions":"7 5\/8 x 2 1\/2 x 1 3\/4 in","description":"Object Height\/Width\/Depth"},{"dimID":96824,"dimensions":"19.5 x 6.5 x 4.5 cm","description":"Object Height\/Width\/Depth"}]},{"id":623,"objectID":38212,"title":"skeleton with accordion","accessionNumber":"2007.4318.04","geoAssoc":"Oaxaca, Mexico","currLoc":"405, Michaelis Gallery, 405, C2","alias":"","objectDate":"1985\u20131995","material":"ceramic, paint, metal, cotton, plastic","creditLine":"Museum purchase: Argersinger Fund","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78716,"collectionID":3476,"collectionType":"exhibition","description":"These four skeletal musicians make up a band with a clarinet player, two guitarists, and an accordion player. The ability of music to empower the listener or the musician can be enhanced by community performance. These figures were created for D\u00eda de los Muertos, or Day of the Dead festivities, which is why skeleton forms are used.","displayDescription":"These four skeletal musicians make up a band with a clarinet player, two guitarists, and an accordion player. The ability of music to empower the listener or the musician can be enhanced by community performance. These figures were created for D\u00eda de los Muertos, or Day of the Dead festivities, which is why skeleton forms are used."}],"dimensionalData":[{"dimID":96827,"dimensions":"7 1\/2 x 2 3\/4 x 1 3\/4 in","description":"Object Height\/Width\/Depth"},{"dimID":96826,"dimensions":"19 x 7 x 4.5 cm","description":"Object Height\/Width\/Depth"}]},{"id":624,"objectID":38997,"title":"beaded snood with medallion","accessionNumber":"2007.0497","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, W1","alias":"","objectDate":"1959","material":"buckskin, beading","creditLine":"Gift of Ann and Britt Brown, Blackbear Bosin Collection","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":92210,"dimensions":"approximately 14 cm","description":"Object Diameter"},{"dimID":92211,"dimensions":"approximately 5 1\/2 in","description":"Object Diameter"}]},{"id":625,"objectID":39198,"title":"Child Taken by Mermaid","accessionNumber":"2007.2756","geoAssoc":"Zimbabwe","currLoc":"405, Michaelis Gallery, 405, S1","alias":"","objectDate":"1988\u20131996","material":"wood, paint","creditLine":"Gift of Sue Schuessler","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78809,"collectionID":3476,"collectionType":"exhibition","description":"In this painting, a young boy\u2019s family consults a spiritual healer, called a n\u2019anga, to find out how to rescue him from a water spirit or mermaid. On the n\u2019anga\u2019s advice, they brew beer and take medicine to the water spirit to release the boy. After reemerging from the water, the boy is now also a n\u2019anga. The bottom of the painting shows his community playing drums and celebrating his important and powerful new status.","displayDescription":"In this painting, a young boy\u2019s family consults a spiritual healer, called a n\u2019anga, to find out how to rescue him from a water spirit or mermaid. On the n\u2019anga\u2019s advice, they brew beer and take medicine to the water spirit to release the boy. After reemerging from the water, the boy is now also a n\u2019anga. The bottom of the painting shows his community playing drums and celebrating his important and powerful new status."}],"dimensionalData":[{"dimID":90909,"dimensions":"28 3\/4 x 36 5\/8 in including frame","description":"Object Height\/Width"},{"dimID":90908,"dimensions":"73 x 93 cm including frame","description":"Object Height\/Width"}]},{"id":626,"objectID":39319,"title":"pot","accessionNumber":"2007.4081","geoAssoc":"Southwestern United States","currLoc":"405, Michaelis Gallery, 405, C1","alias":"","objectDate":"1950s","material":"ceramic, paint","creditLine":"Gift from the Security Benefit Group of Companies","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78718,"collectionID":3476,"collectionType":"exhibition","description":"Fannie was the youngest of Nampeyo\u2019s three daughters and also learned to make pottery from her mother. Like her sister Annie, she also created her own versions of the Sikyatki Revival style.","displayDescription":"Fannie was the youngest of Nampeyo\u2019s three daughters and also learned to make pottery from her mother. Like her sister Annie, she also created her own versions of the Sikyatki Revival style."}],"dimensionalData":[{"dimID":96181,"dimensions":"5 1\/2 x 10 1\/16 in","description":"Object Height\/Diameter"},{"dimID":96180,"dimensions":"14 x 25.5 cm","description":"Object Height\/Diameter"}]},{"id":627,"objectID":39437,"title":"basket","accessionNumber":"2007.2580","geoAssoc":"Arizona, United States","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"mid 1900s","material":"yucca, bear grass, martynia, coiling","creditLine":"Gift of Dorwin Lamkin","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":90350,"dimensions":"17.5 x 26.5 cm","description":"Object Height\/Diameter"},{"dimID":90351,"dimensions":"6 7\/8 x 10 3\/8 in","description":"Object Height\/Diameter"}]},{"id":628,"objectID":41738,"title":"Seascape (Winter Sea Prose)","accessionNumber":"2008.0039","geoAssoc":"Japan","currLoc":"405, Michaelis Gallery, 405, E1","alias":"","objectDate":"1951","material":"oil, canvas","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Fund","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78696,"collectionID":3476,"collectionType":"exhibition","description":"Visits to the seas near Shizuoka prefecture in Japan, where several species of jellyfish are found during the winter months, influenced Chizuko Yoshida\u2019s creation of this abstract painting. Thin flowing strokes of paint combined with lines scratched across the surface of the canvas convey a variety of marine life. Overlapping colors indicate gently splashing waves, while lively lines and geometric patterns represent both the surface of waves and the underwater environment of the ocean.","displayDescription":"Visits to the seas near Shizuoka prefecture in Japan, where several species of jellyfish are found during the winter months, influenced Chizuko Yoshida\u2019s creation of this abstract painting. Thin flowing strokes of paint combined with lines scratched across the surface of the canvas convey a variety of marine life. Overlapping colors indicate gently splashing waves, while lively lines and geometric patterns represent both the surface of waves and the underwater environment of the ocean."}],"dimensionalData":[{"dimID":84425,"dimensions":"80.5 x 64 x 2.5 cm","description":"Canvas\/Support"},{"dimID":84426,"dimensions":"31.69 x 25.2 x 0.98 cm","description":"Canvas\/Support"},{"dimID":170301,"dimensions":"33 x 26 5\/8 x 2 in","description":"Frame Dimensions"}]},{"id":629,"objectID":41910,"title":"udu (pot-drum)","accessionNumber":"2020.0147","geoAssoc":"Nigeria","currLoc":"405, Michaelis Gallery, 405, C2","alias":"","objectDate":"1925\u20131990","material":"ceramic, incising, impressing","creditLine":"Anonymous gift","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":83106,"dimensions":"34.5 x 28 x 29.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":163956,"dimensions":"13 9\/16 x 11 x 11 5\/8 in","description":"Object Height\/Width\/Depth"}]},{"id":631,"objectID":42986,"title":"Sansei Woman","accessionNumber":"2011.0022","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, W1","alias":"","objectDate":"1980","material":"acrylic, canvas","creditLine":"Gift of Dean and Ginny Graves; Jim and Gina Graves Lloyd","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78772,"collectionID":3476,"collectionType":"exhibition","description":"Clad in Victorian-inspired clothing, a third-generation Japanese American (sansei) woman dominates this painting. Four men in dynamic poses surround her, three of them wearing kumadori makeup indicating their status as kabuki actors. The artist, who is himself a sansei, confronts racist stereotypes with references to Japanese cultural heritage and Euro-American fashioning and empire. How can we feel empowered to claim our own identities?\r\n\r\nAdditional label content:\r\nIn this painting artist Roger Shimomura references Japanese print traditions, raising questions about heritage and cultural appropriation. The various figures evoke the style and content of ukiyo-e, prints that depict famous beautiful women, kabuki actors, sumo wrestlers, and other celebrities of 17th- to 19th-century Edo (modern-day Tokyo). Shimomura also questions the use of such Japanese prints by Western artists to develop modern art forms in the late 19th and early 20th century. Further problematizing issues of \u201cforeignness,\u201d Shimomura also alludes to the late Edo-period trend of Yokohama-e, or prints that depict foreigners in Japan.","displayDescription":"Clad in Victorian-inspired clothing, a third-generation Japanese American (sansei) woman dominates this painting. Four men in dynamic poses surround her, three of them wearing kumadori makeup indicating their status as kabuki actors. The artist, who is himself a sansei, confronts racist stereotypes with references to Japanese cultural heritage and Euro-American fashioning and empire. How can we feel empowered to claim our own identities?\r\n\r\nAdditional label content:\r\nIn this painting artist Roger Shimomura references Japanese print traditions, raising questions about heritage and cultural appropriation. The various figures evoke the style and content of ukiyo-e, prints that depict famous beautiful women, kabuki actors, sumo wrestlers, and other celebrities of 17th- to 19th-century Edo (modern-day Tokyo). Shimomura also questions the use of such Japanese prints by Western artists to develop modern art forms in the late 19th and early 20th century. Further problematizing issues of \u201cforeignness,\u201d Shimomura also alludes to the late Edo-period trend of Yokohama-e, or prints that depict foreigners in Japan."}],"dimensionalData":[{"dimID":100069,"dimensions":"48 x 42 in","description":"Canvas\/Support"},{"dimID":89675,"dimensions":"121.92 x 106.68 cm","description":"Canvas\/Support"},{"dimID":170326,"dimensions":"49 x 43 1\/4 x 1 3\/4 in","description":"Frame Dimensions"}]},{"id":632,"objectID":43221,"title":"Le Parc","accessionNumber":"2010.0188","geoAssoc":"France","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"1915","material":"oil, canvas","creditLine":"Gift of Mr. and Mrs. Stuart P. Feld","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78710,"collectionID":3476,"collectionType":"exhibition","description":"This painting is a maze of shapes within shapes that create the overall subject of a park with a fountain in the center. Repeating orange lines at the bottom perhaps indicate sunrays casting shadows through the trees. Through her use of the complementary colors red and green, line, and pattern, Jeanne Rij-Rousseau conveys the idea of a bright, pleasant summer day at the park rather than the exact park itself.","displayDescription":"This painting is a maze of shapes within shapes that create the overall subject of a park with a fountain in the center. Repeating orange lines at the bottom perhaps indicate sunrays casting shadows through the trees. Through her use of the complementary colors red and green, line, and pattern, Jeanne Rij-Rousseau conveys the idea of a bright, pleasant summer day at the park rather than the exact park itself."}],"dimensionalData":[{"dimID":100145,"dimensions":"19 3\/4 x 23 7\/8 in","description":"Canvas\/Support"},{"dimID":169864,"dimensions":"26 1\/2 x 30 1\/2 x 2 in","description":"Frame Dimensions"},{"dimID":91414,"dimensions":"50.16 x 60.65 cm","description":"Canvas\/Support"}]},{"id":633,"objectID":43832,"title":"picture made from recycled materials","accessionNumber":"2011.0170","geoAssoc":"Gugulethu, Western Cape, South Africa","currLoc":"405, Michaelis Gallery, 405, E1","alias":"","objectDate":"2005","material":"wood, aluminum, stone, sand, paint, metal","creditLine":"Gift of Professor Beverly Mack","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78697,"collectionID":3476,"collectionType":"exhibition","description":"Above the open doorway of the front-most building hangs a sign made from the label of a Carling Black Label Beer can. With locally sourced materials, Michael Mxakaza creates an image of Gugulethu township\u2019s built environment to sell to international visitors. Recycle crafting has developed into a creative social enterprise promoted to empower residents of South Africa\u2019s townships and rural communities by generating income while also dealing with waste management.","displayDescription":"Above the open doorway of the front-most building hangs a sign made from the label of a Carling Black Label Beer can. With locally sourced materials, Michael Mxakaza creates an image of Gugulethu township\u2019s built environment to sell to international visitors. Recycle crafting has developed into a creative social enterprise promoted to empower residents of South Africa\u2019s townships and rural communities by generating income while also dealing with waste management."}],"dimensionalData":[{"dimID":100124,"dimensions":"4 3\/4 x 5 5\/16 x 1 3\/8 in","description":"Object Height\/Width\/Depth"},{"dimID":100122,"dimensions":"12 x 13.5 x 3.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":170246,"dimensions":"8 1\/2 x 9 1\/8 x 2 1\/2 in","description":"Frame Dimensions"}]},{"id":634,"objectID":43884,"title":"Erzuli as Piper","accessionNumber":"2011.0250","geoAssoc":"Haiti","currLoc":"405, Michaelis Gallery, 405, S1","alias":"","objectDate":"1974","material":"paint, hardboard","creditLine":"Mary Lou Vansant Hughes Collection","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78722,"collectionID":3476,"collectionType":"exhibition","description":"Erzuli is one of the most powerful lwas, or spirits, in Haitian Vodou. She embodies love, beauty, luxury, and flowers. She also represents water, femininity, and fluidity\u2014all life forces. The piper figure in Haitian Vodou is associated with death. Here, Erzuli is portrayed as a piper, creating happiness around her in a beautiful garden suggesting the connection of life and death.","displayDescription":"Erzuli is one of the most powerful lwas, or spirits, in Haitian Vodou. She embodies love, beauty, luxury, and flowers. She also represents water, femininity, and fluidity\u2014all life forces. The piper figure in Haitian Vodou is associated with death. Here, Erzuli is portrayed as a piper, creating happiness around her in a beautiful garden suggesting the connection of life and death."}],"dimensionalData":[{"dimID":100424,"dimensions":"9 13\/16 x 15 15\/16 in","description":"Canvas\/Support"},{"dimID":100425,"dimensions":"12 1\/2 x 18 1\/4 x 1 3\/4 in","description":"Frame Dimensions"},{"dimID":99677,"dimensions":"25 x 40.5 cm","description":"Canvas\/Support"}]},{"id":635,"objectID":43908,"title":"End of Day","accessionNumber":"2011.0273","geoAssoc":"Haiti","currLoc":"405, Michaelis Gallery, 405, E1","alias":"","objectDate":"circa 1970","material":"oil, hardboard","creditLine":"Mary Lou Vansant Hughes Collection","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78698,"collectionID":3476,"collectionType":"exhibition","description":"Max H. Gerbier often portrays the plains and mountains around his birthplace near Cap-Haitien in northern Haiti, a location inscribed in the lower right near his signature. As dusk falls and the moon rises, inhabitants return after a day\u2019s work to their houses where orange lights beckon. Gerbier creates a tranquil harmony of daily rhythms by brightening the soft tones of blacks and grays with natural and artificial light.","displayDescription":"Max H. Gerbier often portrays the plains and mountains around his birthplace near Cap-Haitien in northern Haiti, a location inscribed in the lower right near his signature. As dusk falls and the moon rises, inhabitants return after a day\u2019s work to their houses where orange lights beckon. Gerbier creates a tranquil harmony of daily rhythms by brightening the soft tones of blacks and grays with natural and artificial light."}],"dimensionalData":[{"dimID":99701,"dimensions":"51 x 61 cm","description":"Canvas\/Support"},{"dimID":100470,"dimensions":"20 1\/16 x 24 in","description":"Canvas\/Support"},{"dimID":100471,"dimensions":"20 3\/4 x 25 x 1 in","description":"Frame Dimensions"}]},{"id":636,"objectID":43950,"title":"Col\u00e8re (Anger)","accessionNumber":"2011.0314","geoAssoc":"Haiti","currLoc":"405, Michaelis Gallery, 405, S1","alias":"","objectDate":"1974","material":"paint, hardboard","creditLine":"Mary Lou Vansant Hughes Collection","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78723,"collectionID":3476,"collectionType":"exhibition","description":"This vampire-like woman with a snake coiled around her appears frightful, but look closely at her expression and gesture. Is there more to her story? The figure could be interpreted as a soucouyant, a shape-shifting character from Caribbean folklore. By day, soucouyants appear as old women, but at night they fly across the sky and enter homes to suck the inhabitants\u2019 blood. How might this figure serve as a force of resistance and empowerment?","displayDescription":"This vampire-like woman with a snake coiled around her appears frightful, but look closely at her expression and gesture. Is there more to her story? The figure could be interpreted as a soucouyant, a shape-shifting character from Caribbean folklore. By day, soucouyants appear as old women, but at night they fly across the sky and enter homes to suck the inhabitants\u2019 blood. How might this figure serve as a force of resistance and empowerment?"}],"dimensionalData":[{"dimID":100158,"dimensions":"32 1\/16 x 40 1\/8 in","description":"Canvas\/Support"},{"dimID":100159,"dimensions":"32 1\/2 x 40 in","description":"Frame Dimensions"},{"dimID":99745,"dimensions":"81.5 x 102 cm","description":"Canvas\/Support"}]},{"id":637,"objectID":43960,"title":"Asefi (enough daughters)","accessionNumber":"2011.0323","geoAssoc":"Haiti","currLoc":"405, Michaelis Gallery, 405, W1","alias":"","objectDate":"1975","material":"paint, hardboard","creditLine":"Mary Lou Vansant Hughes Collection","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78781,"collectionID":3476,"collectionType":"exhibition","description":"Subtly hinting at the connection between Haitian people and the transatlantic slave trade, the elongated neck and facial features of this young Haitian woman are reminiscent of Senegalese women in West Africa. Dressed in white and framed by an arched opening, this figure may represent an impending spiritual journey. In Christianity, white can reference baptism and marriage. Likewise, in the Vodou religion worshippers and initiates wear white during ceremonies to demonstrate peace, humility, and purity.","displayDescription":"Subtly hinting at the connection between Haitian people and the transatlantic slave trade, the elongated neck and facial features of this young Haitian woman are reminiscent of Senegalese women in West Africa. Dressed in white and framed by an arched opening, this figure may represent an impending spiritual journey. In Christianity, white can reference baptism and marriage. Likewise, in the Vodou religion worshippers and initiates wear white during ceremonies to demonstrate peace, humility, and purity."}],"dimensionalData":[{"dimID":100156,"dimensions":"40 15\/16 x 39 3\/4 in","description":"Canvas\/Support"},{"dimID":100157,"dimensions":"41 x 40 1\/4 x 1 1\/4 in","description":"Frame Dimensions"},{"dimID":99755,"dimensions":"104 x 101 cm","description":"Canvas\/Support"}]},{"id":638,"objectID":43967,"title":"mother and children","accessionNumber":"2011.0330","geoAssoc":"Haiti","currLoc":"405, Michaelis Gallery, 405, W1","alias":"","objectDate":"circa 1970","material":"paint, hardboard","creditLine":"Mary Lou Vansant Hughes Collection","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78724,"collectionID":3476,"collectionType":"exhibition","description":"This painting suggests multiple generations and ideas of community. The figures could be a mother and children. Or perhaps the work evokes the Cr\u00e9ole phrase: \"Vwazinaj se fanmi\" meaning \u201cneighbors are family.\u201d","displayDescription":"This painting suggests multiple generations and ideas of community. The figures could be a mother and children. Or perhaps the work evokes the Cr\u00e9ole phrase: \"Vwazinaj se fanmi\" meaning \u201cneighbors are family.\u201d"}],"dimensionalData":[{"dimID":100436,"dimensions":"10 1\/16 x 16 1\/8 in","description":"Canvas\/Support"},{"dimID":100437,"dimensions":"12 1\/2 x 15 1\/2 x 1\/2 in","description":"Frame Dimensions"},{"dimID":99762,"dimensions":"25.5 x 41 cm","description":"Canvas\/Support"}]},{"id":639,"objectID":44013,"title":"woven food cover","accessionNumber":"2011.0209","geoAssoc":"Kano, Nigeria","currLoc":"405, Michaelis Gallery, 405, E1","alias":"","objectDate":"1982","material":"plastic, glass, paper, coiling","creditLine":"Gift of Professor Beverly Mack","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78699,"collectionID":3476,"collectionType":"exhibition","description":"Beverly Mack\u2014professor emerita of African and African American Studies at KU\u2014purchased this food cover in 1982 from a market in Kano, Nigeria, a major commercial city. Mat-making is one of Kano\u2019s traditional industries. This woven food cover references mats made from natural plant fibers as well as plastic waste. Its design, with a blue, white, and green palette circling a central mirror, suggests representations of Earth.","displayDescription":"Beverly Mack\u2014professor emerita of African and African American Studies at KU\u2014purchased this food cover in 1982 from a market in Kano, Nigeria, a major commercial city. Mat-making is one of Kano\u2019s traditional industries. This woven food cover references mats made from natural plant fibers as well as plastic waste. Its design, with a blue, white, and green palette circling a central mirror, suggests representations of Earth."}],"dimensionalData":[{"dimID":100765,"dimensions":"9 1\/16 in","description":"Object Diameter"},{"dimID":100764,"dimensions":"23 cm","description":"Object Diameter"}]},{"id":640,"objectID":45887,"title":"Course au pouvoir (Race for Power)","accessionNumber":"2013.0049","geoAssoc":"Democratic Republic of the Congo","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"2013","material":"paint, canvas","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78725,"collectionID":3476,"collectionType":"exhibition","description":"How can artists speak to power? Through vibrant imagery, Moke Fils paints the recent political story of the Democratic Republic of the Congo. With bright yellow wings, Joseph Kabila ascends to the red seat of power following the assassination of his father, Laurent-D\u00e9sir\u00e9 Kabila, who was president before him. Below, numerous figures clamber to the top of a ballot box. Where are the voices of the people and what might they have to say?","displayDescription":"How can artists speak to power? Through vibrant imagery, Moke Fils paints the recent political story of the Democratic Republic of the Congo. With bright yellow wings, Joseph Kabila ascends to the red seat of power following the assassination of his father, Laurent-D\u00e9sir\u00e9 Kabila, who was president before him. Below, numerous figures clamber to the top of a ballot box. Where are the voices of the people and what might they have to say?"}],"dimensionalData":[{"dimID":113020,"dimensions":"31 1\/4 x 42 in","description":"Image Dimensions Height\/Width"},{"dimID":110889,"dimensions":"79.37 x 106.68 cm","description":"Image Dimensions Height\/Width"},{"dimID":169913,"dimensions":"not stretched 92.5 x 120 cm","description":"Canvas\/Support"},{"dimID":169914,"dimensions":"not stretched 36 7\/16 x 47 1\/4 in","description":"Canvas\/Support"}]},{"id":641,"objectID":45892,"title":"Les femmes libres, or Les Fioti Fioti (Women at Liberty, or Free Women)","accessionNumber":"2013.0054","geoAssoc":"Democratic Republic of the Congo","currLoc":"405, Michaelis Gallery, 405, W1","alias":"","objectDate":"2013","material":"paint, canvas","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78782,"collectionID":3476,"collectionType":"exhibition","description":"\u201cFioti-fioti\u201d means \u201clittle\u201d in Lingala and is an iteration of a common Congolese aphorism, \u201clittle by little the bird builds its nest.\u201d This can be understood as with time and steady work, success will eventually be built. When used in reference to young women, the term alludes to the perseverance and varied strategies of women to survive and thrive in society.","displayDescription":"\u201cFioti-fioti\u201d means \u201clittle\u201d in Lingala and is an iteration of a common Congolese aphorism, \u201clittle by little the bird builds its nest.\u201d This can be understood as with time and steady work, success will eventually be built. When used in reference to young women, the term alludes to the perseverance and varied strategies of women to survive and thrive in society."}],"dimensionalData":[{"dimID":113015,"dimensions":"39 1\/4 x 40 3\/4 in","description":"Image Dimensions Height\/Width"},{"dimID":110894,"dimensions":"99.69 x 103.5 cm","description":"Image Dimensions Height\/Width"},{"dimID":169907,"dimensions":"not stretched 113 x 116 cm","description":"Canvas\/Support"},{"dimID":169908,"dimensions":"not stretched 44 1\/2 x 45 11\/16 in","description":"Canvas\/Support"}]},{"id":642,"objectID":45902,"title":"Cause de la pollution (The Cause of Pollution)","accessionNumber":"2013.0064","geoAssoc":"Democratic Republic of the Congo","currLoc":"405, Michaelis Gallery, 405, E1","alias":"","objectDate":"2013","material":"acrylic, canvas","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78701,"collectionID":3476,"collectionType":"exhibition","description":"Somi\u2019s painting explores ecological concerns and the responsibility of humans to care for the earth. Blending natural and surreal elements, the artist anthropomorphizes animals to create hybrid figures that embody the interconnectedness of humans and nature. With its direct title, the painting invites reflection on the role of art and its commodification and circulation in the same global systems that fuel urbanization and exploitation of natural resources from Africa.","displayDescription":"Somi\u2019s painting explores ecological concerns and the responsibility of humans to care for the earth. Blending natural and surreal elements, the artist anthropomorphizes animals to create hybrid figures that embody the interconnectedness of humans and nature. With its direct title, the painting invites reflection on the role of art and its commodification and circulation in the same global systems that fuel urbanization and exploitation of natural resources from Africa."}],"dimensionalData":[{"dimID":170330,"dimensions":"99 x 121 cm","description":"Object Height\/Width"},{"dimID":170331,"dimensions":"39 x 47 5\/8 in","description":"Object Height\/Width"}]},{"id":643,"objectID":46960,"title":"untitled (dressmakers form and skull)","accessionNumber":"2014.0004","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"1950s","material":"oil, cardboard","creditLine":"Gift from The Mandelman-Ribak Foundation","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78783,"collectionID":3476,"collectionType":"exhibition","description":"Rather than portraying a female figure, Beatrice Mandelman evokes the female form and raises questions of feminine constructions through her layered, colorful abstraction. The shape of a horse skull appears behind the partially nude form, contrasting the natural skeletal form with an artificial one used for fashioning a mid 20th-century Euro-American woman.","displayDescription":"Rather than portraying a female figure, Beatrice Mandelman evokes the female form and raises questions of feminine constructions through her layered, colorful abstraction. The shape of a horse skull appears behind the partially nude form, contrasting the natural skeletal form with an artificial one used for fashioning a mid 20th-century Euro-American woman."}],"dimensionalData":[{"dimID":113546,"dimensions":"76.6 x 50.4 cm","description":"Canvas\/Support"},{"dimID":113547,"dimensions":"30 3\/16 x 19 13\/16 in","description":"Canvas\/Support"},{"dimID":113826,"dimensions":"31 1\/4 x 21 x 2 in","description":"Frame Dimensions"}]},{"id":644,"objectID":55813,"title":"olla with flute player designs","accessionNumber":"2016.0206","geoAssoc":"Acoma Pueblo, New Mexico, United States","currLoc":"405, Michaelis Gallery, 405, C2","alias":"","objectDate":"circa 1990s","material":"ceramic, paint","creditLine":"Gift of Ellie LeCompte","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78727,"collectionID":3476,"collectionType":"exhibition","description":"June Pino Cheromiah is of mixed Pueblo heritage and is known for making pottery in traditional forms, including the olla. This example features flute-playing kokopelli figures, which resonate with the Betty Austin Hensley Flutes of the World Collection displayed in this gallery.","displayDescription":"June Pino Cheromiah is of mixed Pueblo heritage and is known for making pottery in traditional forms, including the olla. This example features flute-playing kokopelli figures, which resonate with the Betty Austin Hensley Flutes of the World Collection displayed in this gallery."}],"dimensionalData":[{"dimID":153908,"dimensions":"19.5 x 17.5 cm","description":"Object Height\/Diameter"},{"dimID":153909,"dimensions":"7 11\/16 x 6 7\/8 in","description":"Object Height\/Diameter"}]},{"id":645,"objectID":57243,"title":"\u96fb\u97f3\u79aa\u5883 (Zen Temple of Techno)","accessionNumber":"2017.0058","geoAssoc":"China","currLoc":"405, Michaelis Gallery, 405, S1","alias":"","objectDate":"2017","material":"oil, canvas","creditLine":"Museum purchase: Gift of Hope and Marshall Talbot in memory of their daughter Tracy Lynn Mopper","exhibition":[{"id":3397,"priority":null},{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76265,"collectionID":3397,"collectionType":"exhibition","description":"This painting depicts Julia Govor, a Russian-born electronic musician who got her start performing in a small military town in Abkhazia. Since moving to New York City, she has emerged as an innovative force of experimental techno music. According to the website Mixcloud, at the core of her live performance is \u201can ever-present element of emotional truth and a quest to redefine her audience\u2019s relationship with beat.\u201d In Zen Temple of Techno and the other large-scale portraits in this series, artist Du Kun intentionally deifies cutting-edge musicians as embodiments of East Asian religious temples and grottoes as a way of combining his deep love of contemporary music with his spiritual life.","displayDescription":"This painting depicts Julia Govor, a Russian-born electronic musician who got her start performing in a small military town in Abkhazia. Since moving to New York City, she has emerged as an innovative force of experimental techno music. According to the website Mixcloud, at the core of her live performance is \u201can ever-present element of emotional truth and a quest to redefine her audience\u2019s relationship with beat.\u201d In Zen Temple of Techno and the other large-scale portraits in this series, artist Du Kun intentionally deifies cutting-edge musicians as embodiments of East Asian religious temples and grottoes as a way of combining his deep love of contemporary music with his spiritual life."},{"descriptionID":78729,"collectionID":3476,"collectionType":"exhibition","description":"This painting depicts Julia Govor, a Russian-born electronic musician who got her start performing in a small military town in Abkhazia. Now based in New York City, she is an innovative force of electro and experimental techno music. Working in a series of large-scale portraits, artist Du Kun intentionally renders musicians as monumental structures based on East Asian religious temples. In doing so, he combines his deep love of contemporary music with his spiritual life.","displayDescription":"This painting depicts Julia Govor, a Russian-born electronic musician who got her start performing in a small military town in Abkhazia. Now based in New York City, she is an innovative force of electro and experimental techno music. Working in a series of large-scale portraits, artist Du Kun intentionally renders musicians as monumental structures based on East Asian religious temples. In doing so, he combines his deep love of contemporary music with his spiritual life."}],"dimensionalData":[{"dimID":170400,"dimensions":"84 1\/4 x 56 3\/4 x 3 in","description":"Frame Dimensions"},{"dimID":152553,"dimensions":"210 x 140 cm","description":"Object Height\/Width"},{"dimID":152554,"dimensions":"82 11\/16 x 55 1\/8 in","description":"Object Height\/Width"}]},{"id":646,"objectID":58048,"title":"Night Bloom","accessionNumber":"2017.0122.a-e","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"2003","material":"wood, paint, plastic laminate, stainless steel wire","creditLine":"Gift of Robert A. Hiller","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78730,"collectionID":3476,"collectionType":"exhibition","description":"An example of wearable art and expressive body adornment, Night Bloom is a pair of painted wood earrings that can stand alone or be nestled in a wood relief that mimics the form of the earrings. The earrings can be worn or can function as sculpture. Marjorie Schick is a world-renowned leader in avant-garde jewelry design who taught for decades at Pittsburg State University in Kansas.","displayDescription":"An example of wearable art and expressive body adornment, Night Bloom is a pair of painted wood earrings that can stand alone or be nestled in a wood relief that mimics the form of the earrings. The earrings can be worn or can function as sculpture. Marjorie Schick is a world-renowned leader in avant-garde jewelry design who taught for decades at Pittsburg State University in Kansas."}],"dimensionalData":[{"dimID":153501,"dimensions":"relief 14 3\/4 x 13 3\/4 x 1 7\/8 in","description":"Object Height\/Width\/Depth"},{"dimID":153502,"dimensions":"earrings (each) 1 3\/4 x 2 x 3\/8 in","description":"Object Height\/Width\/Depth"}]},{"id":647,"objectID":58068,"title":"jar with migration pattern","accessionNumber":"2017.0126","geoAssoc":"Arizona, United States","currLoc":"405, Michaelis Gallery, 405, C1","alias":"","objectDate":"mid-late 1900s","material":"ceramic, paint","creditLine":"Gift of Hugh J. Zimmer","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78731,"collectionID":3476,"collectionType":"exhibition","description":"Rachel Namingha Nampeyo was the daughter of Annie Healing Nampeyo, granddaughter of Nampeyo of Hano.","displayDescription":"Rachel Namingha Nampeyo was the daughter of Annie Healing Nampeyo, granddaughter of Nampeyo of Hano."}],"dimensionalData":[{"dimID":153686,"dimensions":"14.5 x 21 cm","description":"Object Height\/Diameter"},{"dimID":153687,"dimensions":"5 11\/16 x 8 1\/4 in","description":"Object Height\/Diameter"}]},{"id":648,"objectID":58072,"title":"seed jar","accessionNumber":"2017.0130","geoAssoc":"Hopi Reservation, Arizona, United States","currLoc":"405, Michaelis Gallery, 405, C1","alias":"","objectDate":"mid-late 1900s","material":"ceramic, paint","creditLine":"Gift of Hugh J. Zimmer","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78732,"collectionID":3476,"collectionType":"exhibition","description":"Priscilla Namingha Nampeyo was the daughter of Rachel Namingha Nampeyo, making her the great-granddaughter of Nampeyo of Hano.","displayDescription":"Priscilla Namingha Nampeyo was the daughter of Rachel Namingha Nampeyo, making her the great-granddaughter of Nampeyo of Hano."}],"dimensionalData":[{"dimID":153694,"dimensions":"8.5 x 13 cm","description":"Object Height\/Diameter"},{"dimID":153695,"dimensions":"3 3\/8 x 5 1\/8 in","description":"Object Height\/Diameter"}]},{"id":649,"objectID":58074,"title":"bowl","accessionNumber":"2017.0132","geoAssoc":"Arizona, United States","currLoc":"405, Michaelis Gallery, 405, C1","alias":"","objectDate":"circa 1915\u20131920","material":"ceramic, paint","creditLine":"Gift of Hugh J. Zimmer","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78780,"collectionID":3476,"collectionType":"exhibition","description":"As Nampeyo got older and her eyesight changed, it became difficult for her to paint the signature design motifs of the Sikyatki Revival style. Her oldest daughter Annie had already learned the art from her mother and the two of them began to collaborate, with Nampeyo forming the pots and Annie finishing them with painted designs.","displayDescription":"As Nampeyo got older and her eyesight changed, it became difficult for her to paint the signature design motifs of the Sikyatki Revival style. Her oldest daughter Annie had already learned the art from her mother and the two of them began to collaborate, with Nampeyo forming the pots and Annie finishing them with painted designs."}],"dimensionalData":[{"dimID":153698,"dimensions":"6.5 x 18.5 cm","description":"Object Height\/Diameter"},{"dimID":153699,"dimensions":"2 9\/16 x 7 5\/16 in","description":"Object Height\/Diameter"}]},{"id":650,"objectID":58075,"title":"bowl","accessionNumber":"2017.0133","geoAssoc":"Hopi Reservation, Arizona, United States","currLoc":"405, Michaelis Gallery, 405, C1","alias":"","objectDate":"late 1900s","material":"ceramic, paint","creditLine":"Gift of Hugh J. Zimmer","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78707,"collectionID":3476,"collectionType":"exhibition","description":"Hisi Quotskuyva Nampeyo is the daughter or Dextra Quotskuyva and niece of Priscilla Namingha Nampeyo, part of the fifth generation of the Nampeyo family of potters.","displayDescription":"Hisi Quotskuyva Nampeyo is the daughter or Dextra Quotskuyva and niece of Priscilla Namingha Nampeyo, part of the fifth generation of the Nampeyo family of potters."}],"dimensionalData":[{"dimID":153700,"dimensions":"6.8 x 23 cm","description":"Object Height\/Diameter"},{"dimID":153701,"dimensions":"2 11\/16 x 9 1\/16 in","description":"Object Height\/Diameter"}]},{"id":651,"objectID":58509,"title":"Marie Laveau","accessionNumber":"2019.0001","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"2018","material":"oil, canvas","creditLine":"Museum purchase: Helen Foresman Spencer Art Acquisition Fund","exhibition":[{"id":3397,"priority":null},{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":76288,"collectionID":3397,"collectionType":"exhibition","description":"Marie Catherine Laveau was an important Creole manbo, or priestess, who was integral to the development of the Vodou religion in New Orleans, where it is known as Voodoo. This portrait of Laveau by Ulrick Jean-Pierre contains many references to this blend of religious and cultural traditions. Laveau holds a bell and an asson (a sacred rattle often made from a gourd and covered in beaded string), both important tools in Vodou ritual. The rooster and dove in the lower right and upper left corners are associated with some of the seven lwas, or spirits, in Vodou. Christian symbols include a crucifix and the two versions of the Bible.  \r\n\r\nLaveau\u2019s life is shrouded in mystery and myth, making it difficult to separate historical fact from cultural legend. She remains one of the most admired and controversial figures in New Orleans\u2019s history and is still considered the \u201cVoodoo Queen of New Orleans.\u201d","displayDescription":"Marie Catherine Laveau was an important Creole manbo, or priestess, who was integral to the development of the Vodou religion in New Orleans, where it is known as Voodoo. This portrait of Laveau by Ulrick Jean-Pierre contains many references to this blend of religious and cultural traditions. Laveau holds a bell and an asson (a sacred rattle often made from a gourd and covered in beaded string), both important tools in Vodou ritual. The rooster and dove in the lower right and upper left corners are associated with some of the seven lwas, or spirits, in Vodou. Christian symbols include a crucifix and the two versions of the Bible.  \r\n\r\nLaveau\u2019s life is shrouded in mystery and myth, making it difficult to separate historical fact from cultural legend. She remains one of the most admired and controversial figures in New Orleans\u2019s history and is still considered the \u201cVoodoo Queen of New Orleans.\u201d"},{"descriptionID":78708,"collectionID":3476,"collectionType":"exhibition","description":"Marie Catherine Laveau (1801\u20131881) was an important Creole manbo, or priestess, integral to the development of the Vodou religion in New Orleans, where it is known as Voodoo. This religious practice has roots in Haiti and mixes elements of Catholicism with African and West Indian spiritual beliefs. Laveau remains one of the most admired and controversial figures in New Orleans\u2019s history and is still considered the \u201cVoodoo Queen of New Orleans.\u201d","displayDescription":"Marie Catherine Laveau (1801\u20131881) was an important Creole manbo, or priestess, integral to the development of the Vodou religion in New Orleans, where it is known as Voodoo. This religious practice has roots in Haiti and mixes elements of Catholicism with African and West Indian spiritual beliefs. Laveau remains one of the most admired and controversial figures in New Orleans\u2019s history and is still considered the \u201cVoodoo Queen of New Orleans.\u201d"}],"dimensionalData":[{"dimID":154718,"dimensions":"108 1\/2 x 69 1\/2 x 4 3\/4 in","description":"Frame Dimensions"}]},{"id":652,"objectID":58884,"title":"Portrait of Chantelle Keshaye Pahtayken & Shay Pahtayken, Plains Cree","accessionNumber":"2019.0063.01","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"2019","material":"dye diffusion thermal transfer printing, silicone, cloth","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78709,"collectionID":3476,"collectionType":"exhibition","description":"Early portraits of Native Americans, especially photographs, were often taken by white photographers as a way to document what they considered a \u201cvanishing\u201d people. This contemporary photo of a mother and daughter reverses that narrative, giving the subjects control of their own images and presenting them as examples of strength and resilience.","displayDescription":"Early portraits of Native Americans, especially photographs, were often taken by white photographers as a way to document what they considered a \u201cvanishing\u201d people. This contemporary photo of a mother and daughter reverses that narrative, giving the subjects control of their own images and presenting them as examples of strength and resilience."}],"dimensionalData":[{"dimID":158977,"dimensions":"305 x 229 cm","description":"Object Height\/Width"},{"dimID":158979,"dimensions":"120 1\/16 x 90 3\/16 in","description":"Object Height\/Width"}]},{"id":653,"objectID":61877,"title":"Arena","accessionNumber":"2021.0005","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"1959","material":"oil, board","creditLine":"Gift of Virginia Jennings Nadeau and Richard Pierre Nadeau \u00a9 Elaine de Kooning Trust","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78767,"collectionID":3476,"collectionType":"exhibition","description":"While teaching in New Mexico in the 1950s, artist Elaine de Kooning made trips to Ciudad Ju\u00e1rez, Mexico, to watch bullfights at the Plaza Monumental. The paintings she made in response conjure the chaos and violence of the events in which bull and human meet. Using abstract forms and bold gestures of color, the artist reflects on the power struggle between human and animal.","displayDescription":"While teaching in New Mexico in the 1950s, artist Elaine de Kooning made trips to Ciudad Ju\u00e1rez, Mexico, to watch bullfights at the Plaza Monumental. The paintings she made in response conjure the chaos and violence of the events in which bull and human meet. Using abstract forms and bold gestures of color, the artist reflects on the power struggle between human and animal."}],"dimensionalData":[{"dimID":170314,"dimensions":"60 3\/4 x 49 x 1 1\/2 in","description":"Frame Dimensions"}]},{"id":654,"objectID":61919,"title":"Diaspora","accessionNumber":"2021.0066","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, E1","alias":"","objectDate":"1987","material":"oil, panel","creditLine":"Gift of Sam and Connie Perkins Collection","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78720,"collectionID":3476,"collectionType":"exhibition","description":"Three distinct species of bat ride a raft along a cresting wave. Where do you think they are traveling and why? Luminous intertwining ribbons that resemble DNA strands stream from the vesper bat\u2019s mouth toward a flourishing cycle of sea life and death. Among the darkest depths, ghostly inscriptions for bat in French, Italian, and German surround a skeletal depiction. The painting integrates human knowledge of biological ecosystems with the magical wonders of the natural world.\r\n\r\nAdditional label content:\r\nTeeming marine life occupy the lower half of the painting and present scenes of lifecycles. Some are more identifiable species, such as a seahorse (Genus Hippocampus) and eel (Order Anguilliformes), while others display elements that resemble certain fish. Seahorse eggs deposited in the male\u2019s pouch and the leptocephalus larval stages of the eel, represented by the long and clear tiny \u201cfishes\u201d swimming across the center of the painting, suggest a theme of reproduction and mating. This is juxtaposed to the death and decomposition indicated by the bat skeleton that anchors the bottom of the scene. \r\n\r\nTom Knechtel\u2019s mysterious painting combines biology and fantasy, and perhaps offers a perspective onto the biological theme of dispersal and seemingly fantastical ideas of \u201crafting.\u201d Dispersal is an important concept in biology about the ways animals migrate across continents. Rafting is a form of dispersal in which animals move across oceans on vegetation, other creatures, or some sort of object.","displayDescription":"Three distinct species of bat ride a raft along a cresting wave. Where do you think they are traveling and why? Luminous intertwining ribbons that resemble DNA strands stream from the vesper bat\u2019s mouth toward a flourishing cycle of sea life and death. Among the darkest depths, ghostly inscriptions for bat in French, Italian, and German surround a skeletal depiction. The painting integrates human knowledge of biological ecosystems with the magical wonders of the natural world.\r\n\r\nAdditional label content:\r\nTeeming marine life occupy the lower half of the painting and present scenes of lifecycles. Some are more identifiable species, such as a seahorse (Genus Hippocampus) and eel (Order Anguilliformes), while others display elements that resemble certain fish. Seahorse eggs deposited in the male\u2019s pouch and the leptocephalus larval stages of the eel, represented by the long and clear tiny \u201cfishes\u201d swimming across the center of the painting, suggest a theme of reproduction and mating. This is juxtaposed to the death and decomposition indicated by the bat skeleton that anchors the bottom of the scene. \r\n\r\nTom Knechtel\u2019s mysterious painting combines biology and fantasy, and perhaps offers a perspective onto the biological theme of dispersal and seemingly fantastical ideas of \u201crafting.\u201d Dispersal is an important concept in biology about the ways animals migrate across continents. Rafting is a form of dispersal in which animals move across oceans on vegetation, other creatures, or some sort of object."}],"dimensionalData":[{"dimID":163592,"dimensions":"49 1\/2 x 19 1\/2 x 1 1\/2 in","description":"Frame Dimensions"}]},{"id":655,"objectID":61926,"title":"Prairie Steelscape","accessionNumber":"2021.0072","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"1995","material":"stainless steel","creditLine":"Gift of Sam and Connie Perkins Collection","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78771,"collectionID":3476,"collectionType":"exhibition","description":"Kansas City\u2013based artist Arlie Regier worked with stainless steel scrap metal to create abstract artworks that evoke both cityscapes and agricultural scenes. Existing somewhere between a sculpture and a painting, Prairie Steelscape suggests a windy Midwestern day. The raised steel shapes are reminiscent of rows of corn in a field and perhaps a windmill or other farm structure to the left. How does this work challenge ideas of landscape art?","displayDescription":"Kansas City\u2013based artist Arlie Regier worked with stainless steel scrap metal to create abstract artworks that evoke both cityscapes and agricultural scenes. Existing somewhere between a sculpture and a painting, Prairie Steelscape suggests a windy Midwestern day. The raised steel shapes are reminiscent of rows of corn in a field and perhaps a windmill or other farm structure to the left. How does this work challenge ideas of landscape art?"}],"dimensionalData":[{"dimID":170402,"dimensions":"14 7\/16 x 30 3\/16 x 3 9\/16 in","description":"Object Height\/Width\/Depth"},{"dimID":170401,"dimensions":"36.7 x 76.7 x 9 cm","description":"Object Height\/Width\/Depth"}]},{"id":656,"objectID":34330,"title":"weight","accessionNumber":"2007.3391.03","geoAssoc":"Ghana","currLoc":"401, Loo Gallery, 401, Cabinet G4","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"brass","creditLine":"Gift of Mr. and Mrs. H. Kenneth Palmer","exhibition":[{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":93230,"dimensions":"3.2 x 2.7 cm","description":"Object Length\/Width"},{"dimID":93231,"dimensions":"1 1\/4 x 1 1\/16 in","description":"Object Length\/Width"}]},{"id":657,"objectID":34331,"title":"weight","accessionNumber":"2007.3391.04","geoAssoc":"Ghana","currLoc":"401, Loo Gallery, 401, Cabinet G4","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"brass","creditLine":"Gift of Mr. and Mrs. H. Kenneth Palmer","exhibition":[{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":93232,"dimensions":"2.2 x 1.1 cm","description":"Object Length\/Width"},{"dimID":93233,"dimensions":"7\/8 x 3\/8 in","description":"Object Length\/Width"}]},{"id":658,"objectID":34332,"title":"weight","accessionNumber":"2007.3391.05","geoAssoc":"Ghana","currLoc":"401, Loo Gallery, 401, Cabinet G4","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"brass","creditLine":"Gift of Mr. and Mrs. H. Kenneth Palmer","exhibition":[{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":93234,"dimensions":"1 x 1.5 cm","description":"Object Length\/Width"},{"dimID":93235,"dimensions":"3\/8 x 9\/16 in","description":"Object Length\/Width"}]},{"id":659,"objectID":34333,"title":"weight","accessionNumber":"2007.3391.06","geoAssoc":"Ghana","currLoc":"401, Loo Gallery, 401, Cabinet G4","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"brass","creditLine":"Gift of Mr. and Mrs. H. Kenneth Palmer","exhibition":[{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":93236,"dimensions":"2.1 x 1.9 cm","description":"Object Length\/Width"},{"dimID":93237,"dimensions":"13\/16 x 3\/4 in","description":"Object Length\/Width"}]},{"id":660,"objectID":34336,"title":"weight","accessionNumber":"2007.3391.09","geoAssoc":"Ghana","currLoc":"401, Loo Gallery, 401, Cabinet G4","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"brass","creditLine":"Gift of Mr. and Mrs. H. Kenneth Palmer","exhibition":[{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":93242,"dimensions":"2.3 x 1.8 cm","description":"Object Length\/Width"},{"dimID":93243,"dimensions":"7\/8 x 11\/16 in","description":"Object Length\/Width"}]},{"id":661,"objectID":34338,"title":"weight","accessionNumber":"2007.3391.11","geoAssoc":"Ghana","currLoc":"401, Loo Gallery, 401, Cabinet G4","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"brass","creditLine":"Gift of Mr. and Mrs. H. Kenneth Palmer","exhibition":[{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":93246,"dimensions":"1.5 cm","description":"Object Diameter"},{"dimID":93247,"dimensions":"9\/16 in","description":"Object Diameter"}]},{"id":662,"objectID":34347,"title":"weight","accessionNumber":"2007.3391.20","geoAssoc":"Ghana","currLoc":"401, Loo Gallery, 401, Cabinet G4","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"brass","creditLine":"Gift of Mr. and Mrs. H. Kenneth Palmer","exhibition":[{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":93263,"dimensions":"1.5 x 0.8 cm","description":"Object Length\/Width"},{"dimID":93264,"dimensions":"9\/16 x 5\/16 in","description":"Object Length\/Width"}]},{"id":663,"objectID":34357,"title":"weight","accessionNumber":"2007.3391.30","geoAssoc":"Ghana","currLoc":"401, Loo Gallery, 401, Cabinet G4","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"brass","creditLine":"Gift of Mr. and Mrs. H. Kenneth Palmer","exhibition":[{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":93285,"dimensions":"1.5 x 1.3 cm","description":"Object Length\/Width"},{"dimID":93286,"dimensions":"9\/16 x 1\/2 in","description":"Object Length\/Width"}]},{"id":664,"objectID":34371,"title":"weight","accessionNumber":"2007.3391.44","geoAssoc":"Ghana","currLoc":"401, Loo Gallery, 401, Cabinet G4","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"brass","creditLine":"Gift of Mr. and Mrs. H. Kenneth Palmer","exhibition":[{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":93315,"dimensions":"3\/8 x 3\/8 in","description":"Object Length\/Width"},{"dimID":93314,"dimensions":"1.1 x 1 cm","description":"Object Length\/Width"}]},{"id":665,"objectID":34373,"title":"weight","accessionNumber":"2007.3391.46","geoAssoc":"Ghana","currLoc":"401, Loo Gallery, 401, Cabinet G4","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"brass","creditLine":"Gift of Mr. and Mrs. H. Kenneth Palmer","exhibition":[{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":93318,"dimensions":"2 x 2.5 x 2.5 cm","description":"Object Height\/Width\/Length"},{"dimID":93319,"dimensions":"3\/4 x 1 x 1 in","description":"Object Height\/Width\/Length"}]},{"id":666,"objectID":34378,"title":"weight","accessionNumber":"2007.3391.51","geoAssoc":"Ghana","currLoc":"401, Loo Gallery, 401, Cabinet G4","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"brass, lead","creditLine":"Gift of Mr. and Mrs. H. Kenneth Palmer","exhibition":[{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":93328,"dimensions":"1.2 x 1.2 cm","description":"Object Length\/Width"},{"dimID":93329,"dimensions":"1\/2 x 1\/2 in","description":"Object Length\/Width"}]},{"id":667,"objectID":34379,"title":"balance for gold dust","accessionNumber":"2007.3391.01","geoAssoc":"Ghana","currLoc":"401, Loo Gallery, 401, Cabinet G4","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"brass, string","creditLine":"Gift of Mr. and Mrs. H. Kenneth Palmer","exhibition":[{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":93226,"dimensions":"23.5 x 15 x 5 cm","description":"Object Height\/Width\/Depth"},{"dimID":93227,"dimensions":"9 1\/4 x 5 7\/8 x 1 15\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":668,"objectID":34380,"title":"spoon for gold dust","accessionNumber":"2007.3391.02","geoAssoc":"Ghana","currLoc":"401, Loo Gallery, 401, Cabinet G4","alias":"","objectDate":"late 1800s\u2013early 1900s","material":"brass, stamping","creditLine":"Gift of Mr. and Mrs. H. Kenneth Palmer","exhibition":[{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":93228,"dimensions":"5 x 2 cm","description":"Object Length\/Width"},{"dimID":93229,"dimensions":"1 15\/16 x 3\/4 in","description":"Object Length\/Width"}]},{"id":669,"objectID":44624,"title":"Navel","accessionNumber":"2012.0074","geoAssoc":"United States","currLoc":"401, Loo Gallery, 401, Cabinet C5","alias":"","objectDate":"2011","material":"silverpoint, graphite, titanium white pigment, acrylic binder, acrylic sphere, internal light","creditLine":"Museum purchase: Friends of the Art Museum","exhibition":[{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":111047,"dimensions":"sphere 16 x 16 x 16 in","description":"Object Height\/Width\/Depth"},{"dimID":104362,"dimensions":"sphere 40.64 x 40.64 x 40.64 cm","description":"Object Height\/Width\/Depth"}]},{"id":670,"objectID":10040,"title":"Shepherd","accessionNumber":"1959.0006","geoAssoc":"Rome, Italy; Paris, France; Vienna, Austria; or Yugoslavia (present-day Croatia)","currLoc":"405, Michaelis Gallery, 405","alias":"","objectDate":"1908\u20131911","material":"bronze","creditLine":"Museum purchase: Swannie Smith Zink Fund","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78785,"collectionID":3476,"collectionType":"exhibition","description":"Heroic Serbian ballads served as the inspiration for this work by Croatian artist Ivan Me\u0161trovic. A shepherd cradling bagpipes was one of several sculptures from Me\u0161trovic\u2019s Kosovo Cycle that were intended for his proposed Vidovdan Temple. Considered by some to be the finest work of Serbian folk poetry, the ballads in the \u201cBattle of Kosovo\u201d cycle tell the story of the 14th-century defeat of the Serbian Empire at the hands of the Turks.","displayDescription":"Heroic Serbian ballads served as the inspiration for this work by Croatian artist Ivan Me\u0161trovic. A shepherd cradling bagpipes was one of several sculptures from Me\u0161trovic\u2019s Kosovo Cycle that were intended for his proposed Vidovdan Temple. Considered by some to be the finest work of Serbian folk poetry, the ballads in the \u201cBattle of Kosovo\u201d cycle tell the story of the 14th-century defeat of the Serbian Empire at the hands of the Turks."}],"dimensionalData":[{"dimID":47502,"dimensions":"96.5 x 42 x 102 cm","description":"Object Height\/Width\/Length"},{"dimID":47503,"dimensions":"38 x 16 9\/16 x 40 3\/16 in","description":"Object Height\/Width\/Length"}]},{"id":671,"objectID":10161,"title":"Saint John the Baptist with four Angels in a landscape","accessionNumber":"1960.0057","geoAssoc":"Italy","currLoc":"406, Stewart Gallery, 406, E2","alias":"","objectDate":"late 1400s","material":"marble","creditLine":"Gift from the Samuel H. Kress Study Collection","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78643,"collectionID":3475,"collectionType":"exhibition","description":"This rectangular relief is a type of sculpture called a soprapporta (over door). In addition to marking the entry into a home or church, the symbols and subject matter featured on the soprapporta often tied the doorway to a community network. John the Baptist, depicted here, was the patron saint of Genoa and the subject of many soppraporte in the city.","displayDescription":"This rectangular relief is a type of sculpture called a soprapporta (over door). In addition to marking the entry into a home or church, the symbols and subject matter featured on the soprapporta often tied the doorway to a community network. John the Baptist, depicted here, was the patron saint of Genoa and the subject of many soppraporte in the city."}],"dimensionalData":[{"dimID":10038,"dimensions":"41.9 x 114 x 11.4 cm","description":"Object Height\/Width\/Depth"},{"dimID":174304,"dimensions":"170 lbs","description":"Weight"},{"dimID":47426,"dimensions":"16 1\/2 x 44 7\/8 x 4 1\/2 in","description":"Object Height\/Width\/Depth"}]},{"id":672,"objectID":15007,"title":"Seventh Decade Garden IX-X","accessionNumber":"1983.0028","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405","alias":"","objectDate":"1971","material":"aluminum, paint, welding","creditLine":"Museum purchase: Reid Foundation, Helen Foresman Spencer Art Acquisition Fund, Kansas University Endowment Association, and the National Endowment for the Arts","exhibition":[{"id":3476,"priority":null}],"tour":[{"id":1857,"priority":null}],"assignment":[],"descriptionData":[{"descriptionID":78801,"collectionID":3476,"collectionType":"exhibition","description":"\u201cBlack is the most aristocratic color of all.\u201d \u2013 Louise Nevelson\r\nLouise Nevelson was inspired to create this soaring and layered sculpture after noticing the scrap metal from other projects on her studio floor. She selected these discarded shapes and painted them black, a color she felt gave dignity to abstract forms. Nevelson made several painted aluminum scrap sculptures in the Seventh Decade series, which references her age\u201470 years old\u2014when she made these works.","displayDescription":"\u201cBlack is the most aristocratic color of all.\u201d \u2013 Louise Nevelson\r\nLouise Nevelson was inspired to create this soaring and layered sculpture after noticing the scrap metal from other projects on her studio floor. She selected these discarded shapes and painted them black, a color she felt gave dignity to abstract forms. Nevelson made several painted aluminum scrap sculptures in the Seventh Decade series, which references her age\u201470 years old\u2014when she made these works."},{"descriptionID":25102,"collectionID":1857,"collectionType":"tour","description":"Tap the Web icon for a map and walking directions to this sculpture.","displayDescription":"Tap the Web icon for a map and walking directions to this sculpture."}],"dimensionalData":[{"dimID":173672,"dimensions":"588 lbs","description":"Weight"},{"dimID":46565,"dimensions":"approximately 99 x 61 x 48 in","description":"Object Height\/Width\/Depth"}]},{"id":673,"objectID":18400,"title":"Forge","accessionNumber":"1994.0037","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405","alias":"","objectDate":"1984","material":"bronze","creditLine":"Museum purchase: Peter T. Bohan Art Acquisition Fund","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78762,"collectionID":3476,"collectionType":"exhibition","description":"With the invention of nuclear warheads, humans amplified their power for mass destruction. Forge harnesses the power of art and human creation to reveal and question the use and abuse of such inventions. Robert Arneson casts a severed, decomposing head atop a bullet-shaped anvil bearing inscriptions related to the atomic bomb. As an art professor, Arneson was prompted by a student activist to produce a series works addressing nuclear warfare from 1982 to 1986.","displayDescription":"With the invention of nuclear warheads, humans amplified their power for mass destruction. Forge harnesses the power of art and human creation to reveal and question the use and abuse of such inventions. Robert Arneson casts a severed, decomposing head atop a bullet-shaped anvil bearing inscriptions related to the atomic bomb. As an art professor, Arneson was prompted by a student activist to produce a series works addressing nuclear warfare from 1982 to 1986."}],"dimensionalData":[{"dimID":159137,"dimensions":"150 lbs","description":"Weight"},{"dimID":46461,"dimensions":"66 x 94 x 40.6 cm","description":"Object Height\/Width\/Depth"},{"dimID":46462,"dimensions":"26 x 37 x 16 in","description":"Object Height\/Width\/Depth"}]},{"id":674,"objectID":19208,"title":"Portrait of Hugh Samson","accessionNumber":"1997.0345","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"circa 1939\u20131940","material":"plaster, paint, wood","creditLine":"Museum purchase","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78792,"collectionID":3476,"collectionType":"exhibition","description":"Augusta Savage was an inspiring teacher and an early supporter for the recognition of Black American artists. As director of the Harlem Community Art Center during the Great Depression, she introduced hundreds of people to many forms of art despite economic hardships and the racist art establishment. While Savage\u2019s portraits often featured contemporary Black leaders, this bust of Hugh Samson, a 1938 KU graduate, is one of her few portraits of a white man.","displayDescription":"Augusta Savage was an inspiring teacher and an early supporter for the recognition of Black American artists. As director of the Harlem Community Art Center during the Great Depression, she introduced hundreds of people to many forms of art despite economic hardships and the racist art establishment. While Savage\u2019s portraits often featured contemporary Black leaders, this bust of Hugh Samson, a 1938 KU graduate, is one of her few portraits of a white man."}],"dimensionalData":[{"dimID":46609,"dimensions":"18 1\/2 x 7 3\/4 x 9 in including base","description":"Object Height\/Width\/Depth"}]},{"id":675,"objectID":22281,"title":"Hanging in the Balance","accessionNumber":"2003.0016","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405","alias":"","objectDate":"2002","material":"bronze, jelutong wood","creditLine":"Museum purchase: Helen Foresman Spencer Art Acquisition Fund","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78796,"collectionID":3476,"collectionType":"exhibition","description":"How could a pillow hold up a chair? Contradicting the understanding of a chair as something to sit on and a pillow as something soft, Wendell Castle uses materials to expand expectations. He explores the relationships between art and craft, form and function, and the pursuit of equilibrium. Castle was inspired to create this piece after hearing the idea of wrapping concrete parking garage spaces with pillows to protect car bumpers.","displayDescription":"How could a pillow hold up a chair? Contradicting the understanding of a chair as something to sit on and a pillow as something soft, Wendell Castle uses materials to expand expectations. He explores the relationships between art and craft, form and function, and the pursuit of equilibrium. Castle was inspired to create this piece after hearing the idea of wrapping concrete parking garage spaces with pillows to protect car bumpers."}],"dimensionalData":[{"dimID":22445,"dimensions":"112 x 80 x 74 cm","description":"Object Height\/Width\/Depth"},{"dimID":22446,"dimensions":"44 x 31 1\/2 x 29 in","description":"Object Height\/Width\/Depth"}]},{"id":676,"objectID":25626,"title":"The Possessors","accessionNumber":"2003.0119","geoAssoc":"United States","currLoc":"407, Kress Gallery, 407, W3","alias":"","objectDate":"circa 1960","material":"steel","creditLine":"Gift of Francis Heller","exhibition":[{"id":3473,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78454,"collectionID":3473,"collectionType":"exhibition","description":"At the center of this whimsical scene is a figure sculpted from copper wire riding a toy horse. Using found objects like a poodle brooch and a shard of glass, Ward Lockwood uses the magic of this imagined vignette to evoke landscapes of the American Southwest for which he was best known. In this case, the landscape is contained within an old refrigerator.","displayDescription":"At the center of this whimsical scene is a figure sculpted from copper wire riding a toy horse. Using found objects like a poodle brooch and a shard of glass, Ward Lockwood uses the magic of this imagined vignette to evoke landscapes of the American Southwest for which he was best known. In this case, the landscape is contained within an old refrigerator."}],"dimensionalData":[{"dimID":26167,"dimensions":"34.6 x 21 x 15.5 cm without base","description":"Object Height\/Width\/Depth"},{"dimID":26169,"dimensions":"13 5\/8 x 8 1\/4 x 6 1\/8 in without base","description":"Object Height\/Width\/Depth"}]},{"id":677,"objectID":31733,"title":"commemorative head of an Iyoba (Queen Mother)","accessionNumber":"2007.3026","geoAssoc":"Nigeria","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"late 1800s\u20131975","material":"brass, casting","creditLine":"Gift of Mr. and Mrs. H. Kenneth Palmer","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78799,"collectionID":3476,"collectionType":"exhibition","description":"These two portrait busts represent rulers from different periods of the Benin Kingdom in the southern forests of Nigeria. Oba and Iyoba are considered to have great metaphysical and spiritual power. 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In this museum setting, they are displaced from their original African contexts but still retain their power through their regal imagery and posture."}],"dimensionalData":[{"dimID":91695,"dimensions":"12 3\/8 x 6 1\/8 x 5 11\/16 in","description":"Object Height\/Width\/Depth"},{"dimID":91694,"dimensions":"31.5 x 15.5 x 14.5 cm","description":"Object Height\/Width\/Depth"}]},{"id":678,"objectID":37673,"title":"oba (king) figure","accessionNumber":"2007.1266","geoAssoc":"Nigeria","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"mid-late 1900s","material":"bronze, casting","creditLine":"Gift of Delbert and Carol Shankel","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78765,"collectionID":3476,"collectionType":"exhibition","description":"These two portrait busts represent rulers from different periods of the Benin Kingdom in the southern forests of Nigeria. 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In this museum setting, they are displaced from their original African contexts but still retain their power through their regal imagery and posture."}],"dimensionalData":[{"dimID":85739,"dimensions":"21.5 x 9 x 7.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":85740,"dimensions":"8 7\/16 x 3 1\/2 x 2 15\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":679,"objectID":37684,"title":"mother and child figure","accessionNumber":"2007.4227.a,b","geoAssoc":"New Mexico, United States","currLoc":"405, Michaelis Gallery, 405, S1","alias":"","objectDate":"late 1900s\u20131979","material":"ceramic, paint","creditLine":"Gift of Carol Chavez","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":96594,"dimensions":"a 16.5 x 9 x 14.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":96595,"dimensions":"a 6 1\/2 x 3 1\/2 x 5 11\/16 in","description":"Object Height\/Width\/Depth"},{"dimID":96596,"dimensions":"b 5 x 2.5 x 3.5 cm","description":"Object Length\/Width\/Depth"},{"dimID":96597,"dimensions":"b 1 15\/16 x 1 x 1 3\/8 in","description":"Object Length\/Width\/Depth"}]},{"id":680,"objectID":38264,"title":"storyteller figure","accessionNumber":"2007.2748","geoAssoc":"Cochiti Pueblo, New Mexico, United States","currLoc":"405, Michaelis Gallery, 405, S1","alias":"","objectDate":"circa 1979","material":"ceramic, pigment","creditLine":"Gift of Ann P. Schlager","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":90886,"dimensions":"13.5 x 10 x 11 cm","description":"Object Height\/Width\/Depth"},{"dimID":90887,"dimensions":"5 5\/16 x 3 7\/8 x 4 5\/16 in","description":"Object Height\/Width\/Depth"}]},{"id":681,"objectID":42526,"title":"relief stone fragment","accessionNumber":"2009.0093","geoAssoc":"Gandhara (present-day Afghanistan and Pakistan)","currLoc":"406, Stewart Gallery, 406, E2","alias":"","objectDate":"100s\u2013200s CE, Kushan dynasty","material":"schist","creditLine":"Gift of Richard Crank in memory of Ed Grier","exhibition":[{"id":3475,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78610,"collectionID":3475,"collectionType":"exhibition","description":"This sculptural fragment was likely created for a stupa, a dome-shaped Buddhist shrine built to contain ashes of the Buddha, remains of Buddhist holy figures, or sacred objects. 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Stupas serve as a focus for meditation as Buddhists seek to understand the Buddha\u2019s teachings and achieve enlightenment."}],"dimensionalData":[{"dimID":84989,"dimensions":"13.5 x 35.5 x 6 cm without mount","description":"Object Height\/Width\/Depth"},{"dimID":84990,"dimensions":"5 5\/16 x 14 x 2 3\/8 in without mount","description":"Object Height\/Width\/Depth"},{"dimID":84991,"dimensions":"26 x 43 x 15 cm with mount","description":"Object Height\/Width\/Depth"},{"dimID":84992,"dimensions":"10 1\/4 x 16 7\/8 x 5 7\/8 in with mount","description":"Object Height\/Width\/Depth"}]},{"id":682,"objectID":43411,"title":"St. Francis of Adelaide","accessionNumber":"2010.0192","geoAssoc":"United States","currLoc":"405, Michaelis Gallery, 405, N1","alias":"","objectDate":"2006","material":"marble dust, resin, casting","creditLine":"Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[{"descriptionID":78721,"collectionID":3476,"collectionType":"exhibition","description":"This sculpture pays homage to the history of art and to African American men. Alluding to art historical portraits of Catholic saints, Kehinde Wiley updates the Euro-American art tradition to rectify its exclusion of Black men while also honoring their presence in a society that has often undervalued them. His juxtapositions disrupt social categories and challenge models of class, race, power, and identity.","displayDescription":"This sculpture pays homage to the history of art and to African American men. Alluding to art historical portraits of Catholic saints, Kehinde Wiley updates the Euro-American art tradition to rectify its exclusion of Black men while also honoring their presence in a society that has often undervalued them. His juxtapositions disrupt social categories and challenge models of class, race, power, and identity."}],"dimensionalData":[{"dimID":93169,"dimensions":"12 x 10 x 5 1\/2 in","description":"Object Height\/Width\/Depth"},{"dimID":93170,"dimensions":"30.5 x 25.4 x 14 cm","description":"Object Height\/Width\/Depth"},{"dimID":169331,"dimensions":"5 lbs","description":"Weight"}]},{"id":683,"objectID":55808,"title":"coyote storyteller figure","accessionNumber":"2016.0201","geoAssoc":"Jemez Pueblo, New Mexico, United States","currLoc":"405, Michaelis Gallery, 405, S1","alias":"","objectDate":"late 1900s","material":"ceramic, paint","creditLine":"Gift of Ellie LeCompte","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":153898,"dimensions":"13.5 x 7.5 x 12 cm","description":"Object Height\/Width\/Depth"},{"dimID":153899,"dimensions":"5 5\/16 x 2 15\/16 x 4 3\/4 in","description":"Object Height\/Width\/Depth"}]},{"id":684,"objectID":55840,"title":"male storyteller figure","accessionNumber":"2016.0233","geoAssoc":"New Mexico, United States","currLoc":"405, Michaelis Gallery, 405, S1","alias":"","objectDate":"circa 1970s","material":"ceramic, paint","creditLine":"Gift of Ellie LeCompte","exhibition":[{"id":3476,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":153888,"dimensions":"19 x 11 x 17.5 cm","description":"Object Height\/Width\/Depth"},{"dimID":153889,"dimensions":"7 1\/2 x 4 5\/16 x 6 7\/8 in","description":"Object Height\/Width\/Depth"}]},{"id":685,"objectID":61920,"title":"Balloon Dog (blue)","accessionNumber":"2021.0067","geoAssoc":"United States","currLoc":"401, Loo Gallery, 401, Cabinet B4","alias":"","objectDate":"2002","material":"porcelain, casting","creditLine":"Gift of Sam and Connie Perkins Collection","exhibition":[{"id":3492,"priority":null}],"tour":[],"assignment":[],"descriptionData":[],"dimensionalData":[{"dimID":170439,"dimensions":"4 3\/4 x 10 1\/4 in","description":"Object Height\/Diameter"},{"dimID":163594,"dimensions":"12 x 26 cm","description":"Object Height\/Diameter"}]}],"ArtObjectMedia":[{"id":1109,"mediaID":11936,"objectID":11198,"name":"1971.0120","ext":"jpg","linkID":"1971.0120","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1110,"mediaID":11937,"objectID":11198,"name":"1971.0120view2","ext":"jpg","linkID":"1971.0120view2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":881,"mediaID":13247,"objectID":3894,"name":"1928.1174","ext":"jpg","linkID":"1928.1174","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1999,"mediaID":158318,"objectID":31410,"name":"https:\/\/kam.illinois.edu\/yelimane-fall","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"Watch a video of Yelimane Fall discussing his art and community work.","displayDescription":"Watch a video of Yelimane Fall discussing his art and community work.","transcript":null,"youtube":null,"tourMarker":null},{"id":1998,"mediaID":36738,"objectID":31410,"name":"2007.0071.07","ext":"jpg","linkID":"2007.0071.07","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":133,"mediaID":119994,"objectID":9446,"name":"https:\/\/youtu.be\/5miec0GujBE","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"Collection Insights with Marilyn Stokstad","displayDescription":"Collection Insights with Marilyn Stokstad","transcript":null,"youtube":null,"tourMarker":null},{"id":148,"mediaID":72269,"objectID":9446,"name":"1954.0157","ext":"mp3","linkID":"1954.0157","typeDesc":"Sound Recording","description":"Didactic \u2013 Art Minute","displayDescription":"Didactic \u2013 Art Minute","transcript":"Episode 125. 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Some may be customers, while others are surely artists: one holds a brush and palette and works on a painting, while one holds a sculpture - yet another art form within this painting about art. Come see Tilborch\u2019s painting and marvel at what was possible in the centuries before Photoshop. 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To capture the attention of his viewers, the eighteenth-century Venetian painter Giovanni Antonio Pellegrini illustrates an ancient story in a theatrical way. As if on a stage, a curtain is drawn back in the corner of his painting to reveal a close view of several people inspecting jewelry displayed on a merchant's table. Spotlighted near the center is an intense young woman who holds a sword and ignores the jewelry. Something is strange about this woman, who possesses unusually large hands and a thick neck. \u201cShe\u201d is actually the Greek hero Achilles, whose mother, fearing his death in battle, disguises him as a girl and hides him with Lycomedes and his daughters. The Greek prince Odysseus-also in disguise, as a merchant-witnesses the warrior choosing the sword, which effectively ends the masquerade. Achilles joins Odysseus, and eventually dies in the Trojan War. 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I\u2019m David Cateforis with another Art Minute from the Spencer Museum of Art. Dating to the 1990s, Alpha-Omega: Water Tower #5, is a finely crafted sculpture made of sterling silver, gold and rhodium plating, pearls and mahogany. The piece pays homage to the monumental water towers that dot the Midwestern prairie. The Kansas prairie in particular inspired the work\u2019s creator, renowned metalsmith Richard Mawdsley, who was born in Winfield and earned a Master of Fine Arts degree at the University of Kansas. His twenty-two inch tall sculpture overflows with dazzlingly crafted miniature elements that suggest various narratives. Some details relate to big ideas, such as the community spirit of small-town America, where water towers remain civic monuments, binding the town together. Others are more autobiographical, including the tiny crate of organ pipes that recall Mawdsley\u2019s grandmother. Additional elements include Christian crosses, faucets, roof tiles, and a fire plug. 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I\u2019m David Cateforis with another art minute from the Spencer Museum of Art. The California artist Wayne Thiebaud made his reputation in the early 1960s with still-life paintings of ice cream cones, gumball machines, cakes and pies. Like the New York Pop artists, with whom he was often compared, Thiebaud painted familiar icons of American consumerism, but he did so without irony, and with affection. And unlike the Pop artists, he was primarily committed to the process of painting, choosing subjects that attracted him in terms of form, line, color, and texture. The Spencer\u2019s Thiebaud, a 1962 painting called \u201cAround the Cake,\u201d depicts a white frosted cake encircled by eight cake slices on plates. The luscious, thick oil paint conjures the texture of frosting, tempting the viewer\u2019s sense of taste as well as sight. Thiebaud did not paint the cake and slices from observation but worked from memory, building them out of basic geometric shapes such as ellipses, trapezoids, and triangles. He also gave them colorful shadows to enhance their vitality and to suggest stage lighting, recalling his early work as a theater set designer. 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Her eyes are calm and her closed lips are relaxed. She seems to come forward from the gray background, her dark skin and white dress and head scarf creating a strong contrast. The border of the painting is black and arched across the top of the canvas \r\n\r\nHer dress, made of organdy or tightly pleated fine linen, is translucent. The dress has puffed sleeves and lies across her collarbone, accentuating her long, thin neck. An embroidered band across the top of the dress extends from one sleeve cap to the other. Tiny stitches outline loops that connect in a soft curving line. Her head scarf, also made of translucent linen or voile, is tied tightly across her brow. The cloth flares out to just above the top of her head, making a flat top with two points before it folds over the back. She wears small, simple gold loop earrings.","youtube":null,"tourMarker":null},{"id":2089,"mediaID":136296,"objectID":43960,"name":"2011.0323.004","ext":"mp3","linkID":"2011.0323.004","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2086,"mediaID":136298,"objectID":43960,"name":"2011.0323.004","ext":"mp3","linkID":"2011.0323.004","typeDesc":"Sound Recording","description":"Listen to Label Text","displayDescription":"Listen to Label Text","transcript":"The arched opening, eloquent geometry, and symmetrical representation of this portrait convey an aesthetic often found in religious works, a connection possibly befitting the young woman portrayed. Her elongated neck and facial features are reminiscent of Senegalese women in West Africa. Her name, Asefi, means \u201cenough daughters\u201d in Haitian Creole. 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Lilly Martin Spencer was one of the most successful American women painters of the 19th century. She specialized in genre paintings - scenes of everyday life. In her 1886 painting \u201cBaby Chicks,\u201d Spencer uses strong sunlight to highlight a bundle of baby chicks that squirm in the hands of a girl who holds them out to the viewer through an opening in the wall of a farm building. At first glance, we may focus on the girl\u2019s hands cupping the fluffy yellow chicks, conveying a sense of intimacy between the birds and the child, her face dimly seen in the building\u2019s shadowy interior. But questions arise. Is the child offering the chicks as a gift? Is she displaying nurturing love for the creatures nestled in her cupped hands? Do we sense apprehension in her wide-eyed expression in the mysterious, shadowed background? Is her gaze a pleading one, at once inviting us to admire her cherished chicks but also asking us not to touch them? 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I\u2019m David Cateforis with another Art Minute from the Spencer Museum of Art. You may not immediately notice it as you stroll through the Spencer's 19th century gallery, this little brown painting with a small burst of red. It depicts a solitary rose set next to what seems to be a loaf of pumpernickel bread wrapped in brown paper. But, if you look more closely at the large round object next to the scarlet flower, you\u2019ll see that it\u2019s actually the preserved head of a mummy, swathed in a crumbling veil. The american artist Frederick Stuart Church painted this peculiar image, entitled Blossom and Decay, working from actual objects in his studio. Church obtained the mummy\u2019s head at a time when explorers had discovered new royal Egyptian tombs and were taking artifacts as souvenirs. The head appeared in several of Church\u2019s paintings, usually juxtaposed with a delicate flower or a beautiful woman. In Blossom and Decay, the mummy\u2019s head is both a reminder of death and a testament to Church\u2019s belief in unseen forces and reincarnation. Placed next to a freshly picked rose, it reminds us of the fragility of human life, the transience of beauty, and the power of objects to evoke emotions. With thanks to Anna Smith for her text, from the Spencer Museum of Art, I\u2019m David Cateforis.","youtube":null,"tourMarker":null},{"id":1138,"mediaID":700,"objectID":13239,"name":"1980.0032","ext":"jpg","linkID":"1980.0032","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1137,"mediaID":119813,"objectID":13239,"name":"1980.0032.002","ext":"mp3","linkID":"1980.0032.002","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"Is this the first time you\u2019ve seen a picture of a mummified head? Frederick Stuart Church created Blossom and Decay in 1878. As you can see, there is a dark, slightly unpleasant-looking object sitting to the left of a beautiful rose. This dark object looks similar to a seared loaf of bread, or perhaps a large, scorched potato, but on closer inspection it is actually a mummified head, partially wrapped in brown material. When Church painted Blossom and Decay, he used an actual mummified head as a model. He got the head from an explorer who stole it from an Egyptian tomb. If the painting is slightly above your eye level, it can be quite difficult to make out the head\u2019s facial features due to the painting\u2019s height and lighting, but if you look closely, you can see the darkened shapes of eye sockets, a nose, and a mouth which almost appears to be laughing. Church\u2019s painting and etching styles are very distinctive, to the point that after barely a week of study I could recognize his work. He mostly made illustrations and etchings, although he has created a number of oil paintings. Most of these paintings depict women, sometimes near a stream. Almost all of his works involve animals, many of which have human characteristics. Blossom and Decay, among a few other head-and-flower pieces, seems to be one of the few exceptions to this pattern. But what is Frederick Church\u2019s meaning in this painting? Why would anyone want to place a beautiful blossom and decayed head beside each other and preserve their image for all the world to see? I believe he is trying to depict how gossamer and fleeting things like life and beauty can be. Church wants you to appreciate your existence, which we almost never do, and just like Benjamin Franklin saying that death is one of the few things guaranteed in life, Frederick Church is saying that no matter how beautiful the blossom of your life is, it will decay, and he wants us to go out and enjoy it while it lasts. I think that Blossom and Decay is rather easy to overlook, but once I noticed it, I thought that it was really very striking. It is mostly brown with just a black section in the center, but the green-and-red of the rose contrast with each other against the black in a way that causes the green leaves to almost fade away into the black while the red petals appear brightly. The oil on canvas painting is slightly cracked and despite how small the cracks are, the white lines show up clearly, perhaps due to the absence of light colors in this painting. Frederick Stuart Church was born in Grand Rapids, Michigan during the year of 1842. His father was involved in law and Frederick served in the Civil War. Afterwards, he took art lessons at the Chicago Academy of Design and is sometimes confused with fellow artist Frederic Edwin Church. Frederick Stuart Church died in New York City in 1924. Blossom and Decay by Frederick Church may be an odd painting and it may be hard to find, but it is certainly worth a visit. 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(with audio descriptions)"},{"id":1416,"mediaID":136279,"objectID":43573,"name":"2011.0015.003","ext":"mp3","linkID":"2011.0015.003","typeDesc":"Sound Recording","description":"Listen to Audio Description","displayDescription":"Listen to Audio Description","transcript":"Chado is a three-dimensional sculpture made from cast glass in the form of a Japanese kimono, posed as if there were a person kneeling in it, but the body is absent. It is life-size, about three and a quarter feet tall. The kneeling kimono form is displayed on a knee-high pedestal in an alcove with a window.  The form faces the window with its back to the gallery.  \r\n\r\nThere are several decorative and distinctive features of the kimono. The hem is plumped as if softly stuffed.  It is a circular form shaping a half-circle on the pedestal behind the kimono.  The ends of a sash around the middle of the kimono form a large, elaborate bow or knot that nearly covers the kimono\u2019s back from collar to waist.  On the relatively unadorned front of the kimono, there is a slender strip of patterned fabric edging the top of the sash.  \r\n\r\nThe glass garment is cloudy but translucent, cast in two solid pieces, though it is hollow inside the neckline. The two pieces are joined with an undisguised horizontal seam through the kimono.  The division between the top and bottom pieces is quite obvious in the play of light in the glass.  The glass is thick enough to convey the weight of rich, heavy, layered fabrics, draping into luxurious creases and folds.  The surface is not bright and shiny; instead it has the slightly hushed, soft sheen of fine, subdued silk.  The soft surface and the thickness of the glass combine to create a translucent material that softly glows with the natural light from the window and the gallery lights shining on it.","youtube":null,"tourMarker":"Spencer Selections (with audio descriptions)"},{"id":1417,"mediaID":136280,"objectID":43573,"name":"2011.0015.004","ext":"mp3","linkID":"2011.0015.004","typeDesc":"Sound Recording","description":"Listen to Label Text","displayDescription":"Listen to Label Text","transcript":"This cast-glass sculpture represents a life-size kimono that seems to embody memories. Artist Karen LaMonte has created a shell that signifies the absent figure and the clothing from which the translucent glass gains its form. Chado is part of a series of cast kimonos that LaMonte created in glass, bronze, and porcelain as a result of a seven-month research fellowship spent in Kyoto, Japan, in 2007. LaMonte spent four years making the kimono sculptures. She studied kimonos in every possible way, from formal ceremonial uses, to making one and wearing it herself. Chado draws its name from the Japanese tea ceremony, and the sculpture portrays a kneeling Geisha in the act of offering tea. The artist wanted to convey the sensitivity of a Buddhist society to all that is ephemeral, creating an almost melancholic sense of beauty.","youtube":null,"tourMarker":"Spencer Selections (with audio descriptions)"},{"id":1418,"mediaID":136281,"objectID":43573,"name":"2011.0015.005","ext":"mp3","linkID":"2011.0015.005","typeDesc":"Sound Recording","description":"Listen to App Text","displayDescription":"Listen to App Text","transcript":"Although this gown looks as if it is made of silk, it is made of glass and reaches out as if the absent body inside is performing a traditional Japanese tea ceremony. The piece gets its title from the name for this ceremony: chado. Tap the Related icon to view a Japanese print depicting this ceremony. Artist Karen LaMonte spent seven months in Kyoto, Japan, studying kimonos. Then LaMonte spent another four years creating this series of sculptures that involved making impressions from both articles of clothing and the female body. Tap the Web icon to see a video of other works in the series. The artist writes, \u201cI was struck with the kindred sensibility between my absent female figures and the sensitivity of a Buddhist society to all that is ephemeral, precipitating an almost melancholic sense of beauty.\u201d\r\n\r\nHow do you define beauty and how does that definition apply to this work and the others around it?","youtube":null,"tourMarker":"Spencer Selections (with audio descriptions)"},{"id":1469,"mediaID":143123,"objectID":43573,"name":"2011.0015.006","ext":"mp3","linkID":"2011.0015.006","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Art Tour","displayDescription":"Audio Tour \u2013 Bulldog Art Tour","transcript":null,"youtube":null,"tourMarker":null},{"id":1419,"mediaID":149250,"objectID":43573,"name":"2011.0015.007","ext":"mp3","linkID":"2011.0015.007","typeDesc":"Sound Recording","description":"Hear a SWMS student's perspective.","displayDescription":"Hear a SWMS student's perspective.","transcript":"   A translucent figure. It has a vacant yet intriguing appearance. This piece, \u201cChado\u201d was created in 2010 by artist Karen Lemonte. She was inspired by the immersion within Japanese culture she was able to experience in her fellowship spent in Kyoto, Japan. The word \u201cChado\u201d is most often translated to \u201cThe Way of Tea\u201d, a Japanese tea ceremony involving the ceremonial preparation and presentation of matcha. With this title, an inference can be made that this could be the cast of a woman attending this ceremony. At this ceremony, many women began to learn the arts that prepared them for marriage.\r\n    \tThe medium of this sculpture, cast-glass creates a stunning, elegant appearance. This is significant because it helps show the sacredness of Chado in a more visual manner. While observing, I also came to the realization that the transparency of glass can be viewed similarly to metaphor. You can see through glass, just as you can see through skin into one\u2019s soul, despite the volumes of clothing that often disguise us. When I have a production for theatre, we wear costumes. Whatever the costume may be, it changes us. While wearing my costume, I am a new person, and I have a new personality with new emotions. Is this what every day clothing does?\r\n    \tWith this, you may be wondering why only her kimono is displayed. I believe this is likely to depict a more powerful visual. I cannot make any pre perceptions about the person who wears this fabric due to the lack of a visible body. They could possess the nature of any individual. LeMonte says \u201cIn my sculptures of dresses, I superimpose the artifice of clothing over the phantom landscape of the body\u2019s natural form, creating sensual, situated objects that speak of loss and ephemerality.\u201d\r\n    \tThis piece of art is extremely powerful, as the audience, too, is given an opportunity to apply their own thoughts and ideas to the sculpture. 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We usually expect paintings to be flat and rectangular, but Murray\u2019s painting is neither; it\u2019s built over a bulging plywood support that extends up to a foot off the wall; and it\u2019s shaped something like a giant amoeba. The painting\u2019s central image, set against a yellow and pink background, is an animated, dark green table, with a skewed top and rubbery legs that evoke the torso and limbs of a dancing figure. The figure\u2019s head is a squiggly red doughnut shape - perhaps the chaotic lip of the title - connected by a cord to a hole in the table - and it\u2019s an actual hole that reveals the wall behind the painting. The hole\u2019s outline suggests a human profile, and the cord and doughnut shape resemble a cartoon speech balloon. They can conjure up many other associations as well. Like many works of modern art, Elizabeth Murray\u2019s painting is full of playful ambiguity and welcomes our imaginative interaction. Come and explore for yourself. 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I\u2019m David Cateforis with another art minute from the Spencer Museum of Art. One of the Spencer\u2019s finest Old Master paintings is a depiction of \u201cChrist in the Garden of Gethsamane\u201d, painted around 1600 by the Venetian artist Jacopo Palma the Younger. According to the Gospels, after the Last Supper Jesus went to a garden on the Mount of Olives to pray, accompanied by three of his disciples. While the disciples slept, Jesus agonized over whether or not to submit to the suffering he knew was imminent, saying, \u201cFather, if you are willing, take this cup from me; yet not my will, but yours be done.\u201d Palma\u2019s painting, set in a rocky, moonlit landscape, shows Jesus at the upper right in prayer, facing an angel who flies down from heaven bearing the fateful cup. Below Jesus in the foreground are the massive, shadowy figures of the sleeping disciples. Through a distant rocky archway at the left, the sketchy figure of Judas leads the torch-bearing soldiers who will soon arrest Jesus and set in motion the events leading to his Crucifixion. Palma\u2019s deep shadows and strong highlights create a mood of spiritual intensity appropriate to the scene, one of the most dramatic in the story of Christ\u2019s passion. 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Jesus went to the garden of Gethsemane after the supper accompanied by Peter and two of the sons of Zebedee to pray. The men bearing torches in the background is the sketchy image of Judas coming to arrest Jesus. Jacopo Palma il Giovane was born in Venice, Italy between 1548 and 1550. His father was one of the most famous painters in Italy at the time so after he died Palma took his place. During his time of life, Palma made more than 60 works of art. Palma passed away on October 28, 1628 in Venice, Italy.","youtube":null,"tourMarker":null},{"id":1028,"mediaID":119839,"objectID":9289,"name":"1954.0002.002","ext":"mp3","linkID":"1954.0002.002","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"\u201cMy Father,\u201d he said, \u201cif it is possible, let this cup pass me by. Nevertheless, let it be you, not I, would have it.\u201d -- Matthew 26:39-40. This is what Jesus said to God when he went to pray in the garden of Gethsemane. Christ in Gethsemane by Jacopo Palma il Giovane describes the event just after the Last Supper. Jesus went to the garden of Gethsemane after the supper accompanied by Peter and two of the sons of Zebedee to pray. The men bearing torches in the background is the sketchy image of Judas coming to arrest Jesus. Jacopo Palma il Giovane was born in Venice, Italy between 1548 and 1550. His father was one of the most famous painters in Italy at the time so after he died Palma took his place. During his time of life, Palma made more than 60 works of art. 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When Green Hall was built, the Law School wanted to take the sculpture with them to their new location. But, their request was denied because Lippincott Hall is on the National Register of Historic Buildings and the sculpture goes with the building-not what\u2019s in it. \r\n\r\nThe two figures are James Wood Green (on the right) and Alfred Alford (on the left). Alford was the first KU student killed in the Spanish-American War in 1898.\r\n\r\nInterestingly, the artist, Daniel Chester French, initially declined the commission, but agreed to create the sculpture after a visit to Lawrence where he was inundated with expressions of esteem and affection for Green. French reportedly said he had \u201cnever seen such a love for a man -unless it be the case of Abraham Lincoln.\u201d\r\n\r\nThere are other sculptures on campus that act as memorials to people or ideas. For instance, look for the statue of Phog Allen in front of Allen Fieldhouse or the Korean Cranes Rising on Memorial Drive that honors those who served in the Korean War.","youtube":null,"tourMarker":"Campus Sculpture Tour"},{"id":544,"mediaID":114947,"objectID":43692,"name":"T2011.083.002","ext":"mp3","linkID":"T2011.083.002","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"When you first glance at the Uncle Jimmy Green statue in front of Lippincott Hall, you may see it as the center of campus, or you could envision it as much more. It embodies Mr. James Wood Green, the first dean of Law at Kansas University. The statue, constructed of bronze, sitting on a granite pedestal, shows the dean conversing with a student, placing his hand on the student\u2019s shoulder. He seems to be in a mentor position. You see that the student looks up to him, being able to look up to someone and realizing you can learn from other people\u2019s experiences is extremely important. If you believe you are the center of the universe and already know everything there is know, you can never grow. When you have a mentor, you strive to raise yourself to their level of excellency. This can strengthen your ability to change and adapt to new situations. Although the mentor-ship depicted appears to be academic, you can look up to someone based on endless skills. My mother is the most impactful mentor for me, she teaches me to carry good morals and to bring out the best in myself. I strive to be as caring and forgiving as she is every day. As I follow in her footsteps, not only do I acquire her admirable traits, I gather unique characteristics of my own.  Your surroundings mold you into the person you are, so choose to surround yourself with people who obtain great, sought-after qualities and pursue them so that you can become a mentor, yourself.  This has been Katie Allen with another Bulldog podcast.","youtube":null,"tourMarker":null},{"id":545,"mediaID":114948,"objectID":43692,"name":"T2011.083.003","ext":"mp3","linkID":"T2011.083.003","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"At first glance, the Uncle Jimmy Green Memorial on the KU campus looks simply like a teacher and his student. But the statues are not just this, but two people who were, and still are admired and deeply cared for. Forty-one years at Kansas University brought adoration and love for Dean of Law James Wood Green - the man this statue honors. His compassionate personality and caring demeanor inspired many students- so much that he changed the way they saw the world. Daniel Chester French created a statue in honor of the beloved dean, and for remembrance of the students who died in the Spanish- American War. Lieutenant Alfred C. Alford was a graduate from the University of Kansas who was killed in the Philippines during the war. I believe that French chose to sculpt Alford beside Green because of what the connection symbolizes. In my opinion, the artist sculpted James Green with his arm around Alford C. Alford to portray the love and affection the students all shared for \u201cUncle Jimmy\u201d, and to honor the deaths in the war.\r\nThe known bond between a teacher and a student is the bond between friends, and this memorial depicts it perfectly through the care shown in Uncle Jimmy\u2019s features. He is sculpted in a way that could be interpreted as him helping the student standing beside him. James Green assisted many people throughout his teaching career, and also outside of it. He was not only a wonderful teacher, but also a mentor for his students. \r\nFor me, this piece of art brings the thought of a life surrounded with close friends and acquaintances who work for their goals, and who touch people with kindness and love along the way. Living such a life leads to happiness, and ultimately contentment. Through this sculpture, the artist not only honored Mr. James Green, but also spread the importance of kindness and compassion. Uncle Jimmy was rewarded with love for being the kind, humble man that he was. I believe that if we saw the world with the same viewpoint that James Green had, our everyday lives would be more pleasant and enjoyable. To me, the sculpture proved that life is better lived when seen with love and optimism.     \r\nThis has been Ashton with another Bulldog Podcast.","youtube":null,"tourMarker":null},{"id":546,"mediaID":114949,"objectID":43692,"name":"T2011.083.004","ext":"mp3","linkID":"T2011.083.004","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"Daniel Chester French is one of the most prominent and acclaimed sculptors of his era, creating well-known works such as the statue of John Harvard and the seated statue of Abraham Lincoln in the Lincoln Memorial in Washington, D.C. Most regard him as the greatest American sculptor ever. His work, the Dean James Wood Green Memorial, was unveiled in front of Lippincott Hall in 1924. This statue has two figures, the dean and a student. While the student\u2019s stance and demeanor implies the role reception of knowledge plays in high-level education, the dean himself is more complicated, with a slight lean, which just as easily screams scolding as it does a paternal, comforting talk. I think this talk is certainly symbolic of the generational information transfer that occurs in colleges and universities, and to an extent in high schools. I certainly can connect to this statue as I plan to matriculate at several colleges after high school, most likely to obtain a Doctor of Medicine degree. Furthermore, I\u2019ve grown up around high-level education all my life, with my parents being college professors and my grandfather a surgeon. Although the fancy clothes and young looks and big books and high boots indicate amateurism in the student, a sure fact of life and a stage in which we all have or will go through, the artist gives the impression that just a small conversation with the dean would change it all into a stout look of professionalism similar to that of the dean himself. The attire that French dressed the dean in is similar to that of a today\u2019s 3-piece, and by downgrading that to an unbuttoned coat with a small peek that warrants a tie, I think the artist wanted to example the restrictions sometimes imposed upon great and influential minds and the role this may play in restricting learning.\r\nThis is Elliott Whisenant signing off on another Bulldog Podcast.","youtube":null,"tourMarker":null},{"id":547,"mediaID":114950,"objectID":43692,"name":"T2011.083.005","ext":"mp3","linkID":"T2011.083.005","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"Few know about \u201cUncle Jimmy Green\u201d, a statue which lies at the center of the Kansas University campus. The bronze statue sits upon a granite plinth in front of Lippincott Hall, formerly known as Green Hall.  James Green was the first Dean of the School of Law at KU from 1889 until his death in 1919.  After Green died, a group of K.U. alumni commissioned artist Daniel Chester French to build a statue in James Green\u2019s honor and memory. Daniel French had already created the iconic statue of Abraham Lincoln in 1920, well known as the centerpiece of the Lincoln Memorial. In 1924, he finished \u201cUncle Jimmy Green\u201d.\r\nIn my opinion \u201cUncle Jimmy Green\u201d captures the popularity of Dean Green within the student body. The statue juxtaposes teacher and student together in an obvious learning moment.  With a hand on his pupil\u2019s shoulder, it could also represent how Mr. Green was involved with teaching his students. On a more personal level \u201cUncle Jimmy Green\u201d reminds me of the late 2000s, when my Mother worked at KU and she had an office at Lippincott Hall.  About every week, I would be with my Mother, for she had work to do there. While passing by, I would gaze at that statue, and as a result I have become intimately familiarized with it. Whenever I think \u201cstatue\u201d, \u201cUncle Jimmy Green\u201d comes to mind. What does this distinct statue mean to you? This was Kirk Geery-Weis with another Bulldog Podcast.","youtube":null,"tourMarker":null},{"id":548,"mediaID":114951,"objectID":43692,"name":"T2011.083.006","ext":"mp3","linkID":"T2011.083.006","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"Imagine you are walking on Jayhawk Boulevard and you stop in front of Lippincott Hall at the University of Kansas. In front of this building you see two men that seem like they are having a normal day to day conversation but are frozen in time. These two men are made of bronze and they are standing on a marble plinth. The name of this work of art is Uncle Jimmy Green by Daniel Chester French. French is notoriously known for his design of the Abraham Lincoln statue in the Lincoln Memorial in Washington, D.C. The Uncle Jimmy Green statue is dedicated to James Wood Green, who was the first dean of the praxis of the law from 1878 to 1919. This statue\u2019s creation process started in 1920, Green had died the previous year. It was finally unveiled on June 10, 1924 in front of Lippincott Hall, which was originally the school of law. On the left of Green is Alfred C. Alfred, he was the first graduate who matriculated at University of Kansas. It shows that Alfred enjoyed to cerebrate because he is holding multiple books in his hand. He was chosen to be in this statute because he had passed away during the Spanish American War in battle. In this piece, James has his hand on Alfred\u2019s lower back, you could interpret this as Green praising Alfred for his accomplishments at the University or for his bravery in the War. The tone and mood of this piece shows that Green was probably well-liked by his students. I chose this piece because I was interested in who the men on the pedestal were, and why they were important. This statue shows me that they were well respected and honored men at the University of Kansas. 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That is the word that comes to mind when you first see Thomas Wilmer Dewing\u2019s \u201cA Lady in Green\u201d. To me, this piece is a chain of unanswered questions. Who is the Lady in Green? Why did Dewing choose to paint her? Where did she come from? Where is she going? Everyone has their own theory. When you look more closely at the painting, you may start to inquire about her standing position. The woman stands with her back facing the viewer. She has one hand on her hip, the other dangling by her side. Is her back turned because she has some deep, dark, secret? Or is she simply shy? Perhaps she just wants to show off the low back of her dress. I think that ambiguity is the beauty of the piece. Everyone sees something different. I see this beautiful young woman in an elegant green gown, hair pinned up into a bun, looking longingly, perhaps forlornly over her shoulder. What is she thinking about? The possibilities are infinite. To me, she looks like a woman with a secret. This piece reminds me of the cover of an old mystery novel. However, if you let your mind wander, you may come up with a completely different theory. That is what I really like about this piece-it makes you use your imagination. In order for a great work of art to be created however, there must be someone behind the easel. That is where Thomas Wilmer Dewing comes in. Dewing was born in 1851 in Boston, Massachusetts. He later moved to New York, where his art career really kicked off. Known for his idealized portraits and tonalized female figures, Dewing was a tonalist in an era where impressionism was the main art style. Tonalism uses low-toned atmospheres, particularly in landscapes, and was very popular among American artists in the 1880\u2019s. Thomas Wilmer Dewing created \u201cLady in Green\u201d in 1910, and used oil on canvas. He has many well-known paintings on display in museums all over the country. However, you can view \u201cLady in Green\u201d in the 19th Century Gallery of the Spencer.","youtube":null,"tourMarker":null},{"id":1852,"mediaID":124047,"objectID":9036,"name":"1950.0003det1","ext":"jpg","linkID":"1950.0003det1","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1853,"mediaID":124048,"objectID":9036,"name":"1950.0003view2","ext":"jpg","linkID":"1950.0003view2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":649,"mediaID":99561,"objectID":46152,"name":"H2013.034.01","ext":"jpg","linkID":"H2013.034.01","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2033,"mediaID":158323,"objectID":35150,"name":"https:\/\/monumentlab.com\/projects\/hank-willis-thomas-all-power-to-all-people","ext":null,"linkID":null,"typeDesc":"Virtual 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I\u2019m David Cateforis with another Art Minute from the Spencer Museum of Art. The Spencer's Asian gallery features numerous examples of Buddhist art. Within certain forms of Buddhism, bodhisattvas play an important role. As enlightened beings who have renounced Buddhahood, they remain on earth to extend compassion to believers and help them attain salvation. The wooden Head of a Bodhisattva in the Spencer comes from a figure that originally stood over twelve feet tall - a type that was popular in China during the twelfth and thirteenth centuries. The heavily-lidded eyes are downcast in a meditative expression, while the high, arching eyebrows and small nose and mouth emphasize the deity\u2019s full cheeks; the harmonious integration of these features creates a quality of pure calm and serenity. Physical indications of the figure\u2019s bodhisattva status are the elongated earlobes, the high topknot on the head, and the indentation between the eyes, which once held a jewel. The figure was originally painted in naturalistic skin tones, but the pigment has since worn away. What remains is the natural pattern of the woodgrain, which reveals that the artist composed the sculpture in near-perfect symmetry. With thanks to Hillary Pederson for her text, from the Spencer Museum of Art, I\u2019m David Cateforis.","youtube":null,"tourMarker":null},{"id":1125,"mediaID":567,"objectID":12731,"name":"1977.0125","ext":"jpg","linkID":"1977.0125","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":9,"mediaID":153151,"objectID":1315,"name":"0000.1257","ext":"jpg","linkID":"0000.1257","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":10,"mediaID":153152,"objectID":1315,"name":"0000.1257view002","ext":"jpg","linkID":"0000.1257view002","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":413,"mediaID":153228,"objectID":30330,"name":"http:\/\/www.madoura.com\/","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"Learn more about Madoura 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one","transcript":null,"youtube":null,"tourMarker":"Spencer Kids: Animal Tails (with audio descriptions)"},{"id":1225,"mediaID":156216,"objectID":18264,"name":"https:\/\/spencerartapps.ku.edu\/collection-search#\/object\/41259","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"View a print by Jimenez in our collection that also depicts a howling wolf.","displayDescription":"View a print by Jimenez in our collection that also depicts a howling wolf.","transcript":null,"youtube":null,"tourMarker":null},{"id":1220,"mediaID":149870,"objectID":18264,"name":"https:\/\/spencerartapps.ku.edu\/curricular-resources\/2949","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"View an assignment that uses this work of art","displayDescription":"View an assignment that uses this work of art","transcript":null,"youtube":null,"tourMarker":null},{"id":1218,"mediaID":126785,"objectID":18264,"name":"https:\/\/youtu.be\/f-7AKv9xqxk","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"Watch \u201cMeet Luis Jim\u00e9nez\u201d from the Smithsonian American Art Museum (3:38)","displayDescription":"Watch \u201cMeet Luis Jim\u00e9nez\u201d from the Smithsonian American Art Museum (3:38)","transcript":null,"youtube":null,"tourMarker":"Spencer Selections (with audio descriptions)"},{"id":1226,"mediaID":821,"objectID":18264,"name":"1993.0282","ext":"jpg","linkID":"1993.0282","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1217,"mediaID":98362,"objectID":18264,"name":"1993.0282.001","ext":"mp3","linkID":"1993.0282.001","typeDesc":"Sound Recording","description":"Ear for Art Audio Tour","displayDescription":"Ear for Art Audio Tour","transcript":"Is the animal hurt? Artist Luis Alfonso Jimenez created this sculpture, titled Howl, after encountering an injured coyote on a New Mexican road. Jimenez transformed the coyote into the endangered Mexican wolf, but retained an acute sense of suffering.","youtube":null,"tourMarker":null},{"id":1232,"mediaID":49089,"objectID":18264,"name":"1993.0282.002","ext":"mp3","linkID":"1993.0282.002","typeDesc":"Sound Recording","description":"Art Minute with David Cateforis","displayDescription":"Art Minute with David Cateforis","transcript":"Episode 86. I\u2019m David Cateforis with another art minute from the Spencer Museum of Art. In a glossy fiberglass sculpture, a seated wolf strains his head plaintively skyward. Artist Luis Jimenez based the work on his discovery of a wounded coyote with a broken back on a New Mexico road. Motivated by environmentalist concerns, Jimenez transformed the animal into the endangered Mexican wolf. He portrayed the wolf favoring his right paw, with a bony body, ruffled fur, blood shot eyes, and a blood red mouth, all expressing the animal\u2019s suffering. Drawing on his Mexican American heritage, Jimenez employed heightened color, placing the wolf on a purple rock and using iridescent paint with metal flake highlights. Evoking the signature custom car of the Hispanic community, Jimenez once said, \u201cI want to give my pieces the luster of a low-rider fender.\u201d Through the shimmering fiberglass surface, you can imagine the headlight beams of Jimenez\u2019s car as it approached the injured coyote in the road. After putting the dying creature out of its misery, Jimenez used the corpse as a model. He created this sculpture in 1986 and named it \u201cHowl\u201d - and you can almost hear it do just that. With thanks to Nancy Hernandez for her text, from the Spencer Museum of Art, I\u2019m David Cateforis.","youtube":null,"tourMarker":null},{"id":1221,"mediaID":119875,"objectID":18264,"name":"1993.0282.003","ext":"mp3","linkID":"1993.0282.003","typeDesc":"Sound Recording","description":"Bulldog Art Tour 2012: Kelvin Suddith","displayDescription":"Bulldog Art Tour 2012: Kelvin Suddith","transcript":null,"youtube":null,"tourMarker":null},{"id":1224,"mediaID":119897,"objectID":18264,"name":"1993.0282.004","ext":"mp3","linkID":"1993.0282.004","typeDesc":"Sound Recording","description":"Bulldog Art Tour 2013: Meredith Shaheed","displayDescription":"Bulldog Art Tour 2013: Meredith Shaheed","transcript":null,"youtube":null,"tourMarker":null},{"id":1209,"mediaID":119914,"objectID":18264,"name":"1993.0282.005","ext":"mp3","linkID":"1993.0282.005","typeDesc":"Sound Recording","description":"Bulldog Art Tour 2014: David Gates","displayDescription":"Bulldog Art Tour 2014: David Gates","transcript":null,"youtube":null,"tourMarker":null},{"id":1222,"mediaID":119969,"objectID":18264,"name":"1993.0282.006","ext":"mp3","linkID":"1993.0282.006","typeDesc":"Sound Recording","description":"Bulldog Art Tour 2015: Caleb","displayDescription":"Bulldog Art Tour 2015: Caleb","transcript":null,"youtube":null,"tourMarker":null},{"id":1223,"mediaID":119970,"objectID":18264,"name":"1993.0282.007","ext":"mp3","linkID":"1993.0282.007","typeDesc":"Sound Recording","description":"Bulldog Art Tour 2015: Evan Ordiway","displayDescription":"Bulldog Art Tour 2015: Evan Ordiway","transcript":null,"youtube":null,"tourMarker":null},{"id":1219,"mediaID":121989,"objectID":18264,"name":"1993.0282.008","ext":"mp3","linkID":"1993.0282.008","typeDesc":"Sound Recording","description":"Bulldog Art Tour 2017: Dingding Ye","displayDescription":"Bulldog Art Tour 2017: Dingding Ye","transcript":null,"youtube":null,"tourMarker":null},{"id":1210,"mediaID":136241,"objectID":18264,"name":"1993.0282.009","ext":"mp3","linkID":"1993.0282.009","typeDesc":"Sound Recording","description":"Listen to core object information.","displayDescription":"Listen to core object information.","transcript":"The artist is Luis Alfonso Jim\u00e9nez, born 1940 in El Paso, Texas, died 2006, in Hondo, New Mexico.\r\n\r\nThe title of the work is Howl, created in 1986.\r\n\r\nThis work is made with fiberglass and acrylic urethane.","youtube":null,"tourMarker":"Spencer Selections (with audio descriptions), Spencer Kids: Animal Tails (with audio descriptions)"},{"id":1211,"mediaID":136242,"objectID":18264,"name":"1993.0282.010","ext":"mp3","linkID":"1993.0282.010","typeDesc":"Sound Recording","description":"Listen to Audio Description","displayDescription":"Listen to Audio Description","transcript":"Howl is a five-foot-tall fiberglass sculpture of a wolf with its head tilted back to howl at the sky. The sculpture stands on a low, four-inch high semi-circular pedestal against the wall. The wolf in the sculpture is seated on a rock and is airbrushed in shades of foggy purple and glazed in a sparkling metallic silver. The wolf is painted grey and reddish-brown, with navy and sky-blue on its back, shoulders, and face, as if catching the moonlight. The body of the wolf is covered in a sparkling red metallic flake paint, reminiscent of vintage car bodies. Its eyes are bright red and its teeth show from a slightly open mouth. The wolf lifts its right front paw slightly, and its tail trails down the back of the rock. The wolf\u2019s ribs, spine, and hip bones protrude, making it look emaciated.","youtube":null,"tourMarker":"Spencer Selections (with audio descriptions), Spencer Kids: Animal Tails (with audio descriptions)"},{"id":1212,"mediaID":136243,"objectID":18264,"name":"1993.0282.011","ext":"mp3","linkID":"1993.0282.011","typeDesc":"Sound Recording","description":"Listen to Label Text","displayDescription":"Listen to Label Text","transcript":"Howl was inspired by an injured coyote that the artist found by the roadside, although its physical form is more similar to the endangered Mexican wolf. Through his use of vibrant automotive paint that might be found on a lowrider and his reference to a threatened indigenous species, Jimenez celebrates and memorialized the wolf, or lobo, as a symbol of Mexican and Mexican-American culture and identity.","youtube":null,"tourMarker":"Spencer Selections (with audio descriptions), Spencer Kids: Animal Tails (with audio descriptions)"},{"id":1213,"mediaID":136244,"objectID":18264,"name":"1993.0282.012","ext":"mp3","linkID":"1993.0282.012","typeDesc":"Sound Recording","description":"Listen to App Text","displayDescription":"Listen to App Text","transcript":"Remember to walk all around the sculpture to see every side of it. What do you see that is realistic about this creature? What about this creature is not realistic? This creature is partly inspired by the Mexican wolf, an animal that used to live on the border of Mexico and the United States. The Mexican wolf migrated between the two countries to find food. \r\n\r\nAbout the art\r\n\r\nThis sculpture is made from fiberglass, the same kind of material that is used to make the bodies of cars, boats, surfboards, and many other things.\r\n\r\nAbout the animal\r\n\r\nThe Mexican wolf is the most endangered land mammal in North America. Only about 80 Mexican wolves remain in the wild.","youtube":null,"tourMarker":"Spencer Kids: Animal Tails (with audio descriptions)"},{"id":1214,"mediaID":136245,"objectID":18264,"name":"1993.0282.013","ext":"mp3","linkID":"1993.0282.013","typeDesc":"Sound Recording","description":"Listen to App Text","displayDescription":"Listen to App Text","transcript":"This tour begins in the exhibition, The Object Speaks, which examines the ways in which objects can carry and convey meaning through time. What kinds of meaning does this sculpture convey to you? \r\n\r\nDriving from Roswell to Santa Fe one night, Luis Alfonso Jim\u00e9nez came across an injured coyote in the road howling in pain. After putting the creature out of its misery, he took the coyote\u2019s body home and studied it. Jim\u00e9nez created a lithograph print based on the coyote. Tap on the Related icon to view this print. The image of the injured animal remained a source of inspiration, evolving into this fiberglass representation of the nearly extinct Mexican wolf. The creature\u2019s red eyes are a reference to the animal forms Jim\u00e9nez\u2019s father made in his neon sign shop and the metallic-flaked fiberglass references Chicano lowrider car culture in the American Southwest.\r\n\r\nHow can artists use cultural traditions or experiences to inspire or express meaning in their work?","youtube":null,"tourMarker":"Spencer Selections (with audio descriptions)"},{"id":1215,"mediaID":143115,"objectID":18264,"name":"1993.0282.014","ext":"mp3","linkID":"1993.0282.014","typeDesc":"Sound Recording","description":"Hear a SWMS student's perspective.","displayDescription":"Hear a SWMS student's perspective.","transcript":null,"youtube":null,"tourMarker":"Bulldog Art Tour"},{"id":1216,"mediaID":143116,"objectID":18264,"name":"1993.0282.015","ext":"mp3","linkID":"1993.0282.015","typeDesc":"Sound Recording","description":"Hear a SWMS student's perspective.","displayDescription":"Hear a SWMS student's perspective.","transcript":null,"youtube":null,"tourMarker":"Bulldog Art Tour"},{"id":1227,"mediaID":822,"objectID":18264,"name":"1993.0282det1","ext":"jpg","linkID":"1993.0282det1","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1228,"mediaID":823,"objectID":18264,"name":"1993.0282view2","ext":"jpg","linkID":"1993.0282view2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1808,"mediaID":90740,"objectID":44966,"name":"2012.0623.01","ext":"jpg","linkID":"2012.0623.01","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1809,"mediaID":90741,"objectID":44966,"name":"2012.0623.01view2","ext":"jpg","linkID":"2012.0623.01view2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1810,"mediaID":90742,"objectID":44971,"name":"2012.0623.02","ext":"jpg","linkID":"2012.0623.02","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1811,"mediaID":90743,"objectID":44971,"name":"2012.0623.02view2","ext":"jpg","linkID":"2012.0623.02view2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":241,"mediaID":72295,"objectID":12639,"name":"1977.0033","ext":"mp3","linkID":"1977.0033","typeDesc":"Sound Recording","description":"Didactic \u2013 Art Minute","displayDescription":"Didactic \u2013 Art Minute","transcript":"Episode 13. I\u2019m David Cateforis with another art minute from the Spencer Museum of Art. One of the museum\u2019s oldest objects is a fragment of an ancient Egyptian relief carving, dating to around 2400 BCE. It originally graced the wall of a tomb. The ancient Egyptians believed that the human spirit lived on after death, and the tombs of the wealthy were decorated with scenes of daily activities for the deceased to enjoy in the afterlife. The Spencer relief depicts the procurement of food, meant to nourish the tomb owner. In the two upper registers are scenes of fowling, with a kneeling man holding a goose by the neck, and a standing man holding several geese by their wings. In the register below are men on rafts, spear fishing. The figures in the relief are depicted in the twisted pose the Egyptians used to present each part of the body from the most characteristic angle, with heads in profile but frontal eyes, frontal shoulders, but hips, legs, and feet in profile. The relief looks different today than it did originally, because it would have been covered with a coat of plaster and then painted. But even in its stripped and fragmentary state, it remains a captivating work of art that provides a rare glimpse into daily life in ancient Egypt. From the Spencer Museum of Art, I\u2019m David Cateforis.","youtube":null,"tourMarker":null},{"id":240,"mediaID":47147,"objectID":12639,"name":"1977.0033","ext":"jpg","linkID":"1977.0033","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1562,"mediaID":156227,"objectID":52682,"name":"https:\/\/www.nehachoksi.com\/","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"Explore more works by Neha Choksi.","displayDescription":"Explore more works by Neha Choksi.","transcript":null,"youtube":null,"tourMarker":null},{"id":1554,"mediaID":101733,"objectID":52682,"name":"2015.0068det1","ext":"jpg","linkID":"2015.0068det1","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1555,"mediaID":101734,"objectID":52682,"name":"2015.0068det2","ext":"jpg","linkID":"2015.0068det2","typeDesc":"Still 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Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":907,"mediaID":151240,"objectID":4208,"name":"1928.1625.a,bview3","ext":"jpg","linkID":"1928.1625.a,bview3","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":908,"mediaID":151239,"objectID":4208,"name":"1928.1625.a,bview4","ext":"jpg","linkID":"1928.1625.a,bview4","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":325,"mediaID":153198,"objectID":18451,"name":"https:\/\/www.jackson-pollock.org\/reflection-of-the-big-dipper.jsp","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"View a work by Pollock that incorporates crushed glass.","displayDescription":"View a work by Pollock that incorporates crushed glass.","transcript":null,"youtube":null,"tourMarker":null},{"id":326,"mediaID":153141,"objectID":18451,"name":"1994.0075","ext":"jpg","linkID":"1994.0075","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":281,"mediaID":134505,"objectID":14521,"name":"https:\/\/goo.gl\/maps\/yHZTRrRNLwk","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"SEE directions to this sculpture by tapping number 14 on this map","displayDescription":"SEE directions to this sculpture by tapping number 14 on this map","transcript":null,"youtube":null,"tourMarker":"Campus Sculpture Tour"},{"id":272,"mediaID":106302,"objectID":14521,"name":"1982.0094","ext":"jpg","linkID":"1982.0094","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":273,"mediaID":101727,"objectID":14521,"name":"1982.0094.001","ext":"mp3","linkID":"1982.0094.001","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Ear for Art","displayDescription":"Audio Tour \u2013 Ear for Art","transcript":"The groupings of discs connected by rectangular bars represent the experience of traveling on an interstate highway. The geometric shapes echo the lines of a moving vehicle frozen in time. How does the quiet, contemplative nature of Marvin Grove influence your interpretation of the work?","youtube":null,"tourMarker":"Campus Sculpture Tour"},{"id":275,"mediaID":114936,"objectID":14521,"name":"1982.0094.002","ext":"mp3","linkID":"1982.0094.002","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"Some may call this sculpture simplistic, boring or even pointless. I say the opposite. How, you may ask, could Interstate 70 possibly be interesting or intricate? As you look upon the steel bars and wheels, painted in their ominous black paint, can\u2019t you envision a car, speeding down a freeway at vast amounts of speed? The flowing lines and connecting shapes conjure up images of a sleek and modern motor vehicle, yet the shapes involved seem so uninteresting by themselves. Not only does this piece remind one of a car, but also for the immense highway for which it is named. In the 1950\u2019s, president Dwight D. Eisenhower recognized the swelling numbers of citizens in his country, particularly on the coasts, but at the time, there was no connecting route. To compensate for this lack of accessibility, the president commissioned the Dwight D. Eisenhower National System of Interstate and Defense Highways. The first of these new roadways to be built was the I-70, through Kansas and Missouri. Perhaps this is why the sculptor, Richard Hollander chose this road in particular. Richard Hollander was born in Newark, New Jersey in 1911 and studied sculpting in Berlin, Copenhagen, and Paris in the 1930\u2019s. When he returned to the United States, he set up shop in Kansas City, Missouri, where he lived and worked until his death in 1991. During his active years, Hollander was most widely known for his pieces made of bronze, brass, and aluminium, which often evoke family groups or rituals. He created Interstate 70 in 1970, but it wasn\u2019t until 1982 that the museum bought the sculpture, where they placed it right in the middle of campus. I think its setting in Marvin Grove is symbolic of how man has affected nature. It almost seems alien in this alfresco location, much like the interstate is very outlandish compared to the farms and fields that it cuts through. The bars and circles could also represent how the interstate system connects major cities across the country, the bars being the highways and the circles being cities. Or maybe a train, symbolizing American industry and transportation. On a more personal level, this piece reminded me of my travels around the world, using many different transportation methods, including the I-70. Whatever interpretation you may take on this sculpture, I think we can all agree that Richard Hollander has created an enigma. This has been Patrick Keating with another Bulldog podcast.","youtube":null,"tourMarker":null},{"id":276,"mediaID":114937,"objectID":14521,"name":"1982.0094.003","ext":"mp3","linkID":"1982.0094.003","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"Interstate 70 by Richard Holland is unable to launch to one location, it goes in virtually infinite direction simultaneously. The miraculous aura created is the illusion of movement while staying at rest. I feel it will either thrust off speedily on an unknown course leaving me in its wake, or harmlessly function with no intention of taking a journey. Interstate 70 surpasses Newton\u2019s 3rd law by performing the action, opposite reaction and equal reaction in a singular moment which spans throughout the entire period you set your gaze upon it.\r\nAll of these traits are stored only within a 148 x 658 cm base and a height 157.5 cm. As you set your eyes upon the black welded steel you do not wish for it to leave your field of vision, for you feel will act the moment you look away. Though the title of this piece is set in stone, stone can easily be weathered away. This figure\u2019s title is open to interpretation. One of the factors that caused me to choose this exhibit was just that, the ability to choose your own title of the art.\r\nThe insane genius that is captured in this exhibit contacts us individually using a variation of methods, your praxis of Interstate 70 may share little to nothing with the author nor me which to me is fairly fascinating. This piece became complete in 1970 which is close to when I-70 originally was established in Kansas. How I predict the author interpreted it is as the circular discs being locations and the supports as Interstate 70 gifting millions the ability to travel with ease, then again Holland may have perceived his work as a speeding automobile, traversing the great Interstate 70.\t\r\nMy reaction with not knowing the title shared little to no similarity with what I predict Holland\u2019s purpose for the exhibit was. The inspiration in this exhibit exist with me as I wish it stays with you, it is a reminder that you can affect other people for the better without them knowing your name if you just love what you do, do what you love, and keep being impossibly possible. \r\nThis has been JJ Smith with another bulldog podcast.","youtube":null,"tourMarker":null},{"id":277,"mediaID":114938,"objectID":14521,"name":"1982.0094.004","ext":"mp3","linkID":"1982.0094.004","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"The wheels speed up as we attempt to reach our destination as fast as possible, just as every human feels the urge to go faster. But if we were to reach our destination as fast as possible, would we not take a train or plane? No, we took the scenic route, wanting to look at nature and humans masterpieces. \r\nInterstate 70 is a black, steel, welded, abstract sculpture, created by Richard Hollander in 1970.I was drawn to this sculpture, because of times when I spent countless hours in a car growing closer to the ones I love, it reminded me of. Easier days when we had money to go on trips.  There are two sets of disks and bars, one with six disks, and the other with three. They sit on a platform that is the road. When I first looked at the sculpture, it reminded me of a train, but when I read the name of the piece I thought of an eighteen wheeler carrying a shipment across the country. \r\nThe highway interstate 70 bisects the United States. It\u2019s furthest easterly point is Baltimore, Maryland, which stretches to its westerly point Cove Fort, Utah. Interstate 70 was constructed in 1956 and is 2,153 miles long. The disks of the sculpture are wheels and the bars connect them, just like this highway connects many major cities such as Denver, Kansas City, St. Louis, Indianapolis, and Columbus. \r\nI believe this sculpture is trying to put you on a road trip across interstate 70. It\u2019s put in Marvin Grove, to represent the scenic journey along this freeway. I-70 has many natural beauties along its path like the Colorado River, Glenwood Canyon, Rocky Mountains, and more.\r\nThe simplicity of the sculpture suites it well, leaving you to make a story for it. Just as if you were on interstate 70, you make the journey, you decide the path in which you want to follow. Some may want to get to their destination as fast as possible, but some take the adventurous path. Besides, as they say, it's not about the destination, but the journey.\r\nThis has been Elijah Eklund with another Bulldog Podcast.","youtube":null,"tourMarker":null},{"id":278,"mediaID":114939,"objectID":14521,"name":"1982.0094.005","ext":"mp3","linkID":"1982.0094.005","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"The Wheel has turned, for better or worse.\r\nAnd it will keep on turning,\r\nAs lights die and forests dim,\r\nStorms call and skies break.\r\nTurn it will.\r\nThe Wheel is not hope, \r\nAnd the Wheel does not care,\r\nThe Wheel simply is.\r\nBut so long as it turns,\r\nFolk may hope, folk may care.\r\nFor with light that fades, another will eventually grow,\r\nAnd each storm that rages must eventually die.\r\nAs long as the Wheel turns. As long as it turns...\r\n-Doreille Torghin,  The Wheel Turns. \r\nA train without walls? A macabre spider? Wheels intertwining? A vehicle frozen in time? The wonders your mind can think up about what this sculpture conveys are endless. This can be expected from the abstractness of the piece, with three groupings of discs connected by rectangular bars. Personally, I believe Richard Hollander was trying to convey the experience of traveling on an Interstate highway, which can easily be implied through the title of this artwork, Interstate 70. Although, if this piece truly was suggesting movement and wheels, then why is it located in Marvin Grove, a peaceful green area where there really isn\u2019t a lot of traffic and movement? My guess is that the artist was trying to create paradox and irony with this piece. His intention was to make us wonder. Now you may be wondering, as I still am, why Richard Hollander wanted his artwork here in Lawrence, Kansas of all places. Many cities have quiet grove areas! I choose to believe that this is because Interstate 70 was actually the first part of the Interstate system to be built, and it crosses through Lawrence! \r\n\tBesides all the history of the title and what this piece conveys, it also makes you feel something. And the best part is, everybody feels something different. While I might feel as though the tone is foreboding, you might think it is hopeful. The possibilities are truly limitless. \r\nI hope that this piece got the gears of your mind spinning, just as the \u201cgears\u201d in this sculpture appear to have paused in their spinning. There are no boundaries to what you can think when you look upon this artwork, and that is what I like about it.\r\nThis has been Madison Goeser with another bulldog podcast.","youtube":null,"tourMarker":null},{"id":279,"mediaID":114940,"objectID":14521,"name":"1982.0094.006","ext":"mp3","linkID":"1982.0094.006","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"Hundreds of people walk by the sculpture titled, \u201cInterstate 70,\u201d located in Marvin Grove, every day. However very few stop and look at the intriguing, contemporary sculpture that Richard Hollander created. The reason behind why most people don\u2019t stop and ponder this statue is usually because they \u201cdon\u2019t have time,\u201d which is ironic given the meaning of the artwork. To me, Interstate 70 represents how busy everyone is in today's world. No one has time anymore to stop and look at a statue or relax and enjoy nature. Or at least that\u2019s what we think, but in reality it\u2019s our choice whether we do those things. The name Interstate 70 hints that the artist intended for the statue to represent driving on the Interstate. However when I first saw the piece, before I heard the name, I thought it represented how today\u2019s world has become so infiltrated with technology that, as I previously mentioned, we think we don\u2019t have time for anything that involves relaxing. Now, when we look at Hollander\u2019s sculpture and envision it as an Interstate, the first question that came to my mind was, \u201cwhy is a sculpture of a major roadway in the middle of grove full of grass and trees?\u201d I thought on that question for a while, digging deeper and deeper in my mind, searching for an answer. Then it hit me, Hollander\u2019s statue also represents what this technology filled world is doing to the environment. The steel circles welded together with straight bars connecting them, represent random locations all over the country, some of which are larger than others. The steel bars represent the Interstate which cuts through farmland, destroying the environment, just so we can get from one place to another faster. That\u2019s why Interstates and today's technology were created, to try and quench the constant thirst to do everything faster that today's society has. So it all comes back to time, it\u2019s the one thing we all need more of, or at least we think we do. So, next time you have 15 minutes to spare and you reach for your phone, stop yourself, leave your phone inside and simply go outside and look at artwork such as Interstate 70 or sit outside and ponder life. Take a break and let yourself slow down and take in the amazing world around you. This has been Banner Williams with another Bulldog Podcast.","youtube":null,"tourMarker":null},{"id":280,"mediaID":114941,"objectID":14521,"name":"1982.0094.007","ext":"mp3","linkID":"1982.0094.007","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"When I gaze upon the steel wheels of Interstate 70, I think of the Industrial might that rules our lives with a true iron fist. Sculpted in 1970 by Kansas City sculpture Richard Hollander, the sculpture Interstate 70 is made entirely out of welded steel. Donated to KU in 1982, it now sits in the middle of Marvin grove on campus. As I walked down into the green grove and first saw the sculpture, I thought it was some sort of bicycle. On further inspection I realized it was just wheels of no particular sort, but when I heard the name Interstate 70 I immediately understood the message the artist was trying to convey.  Interstate 70, the highway of which the piece is named after, runs from just outside Baltimore, Maryland to Cove Fort Utah, and passes through Kansas City, Denver, my grandparent\u2019s town of Wakeeney in Western Kansas. It is a highway I have rode on many times in my lifetime and probably will ride on many more times. I connect with the pieces name very well, and I understand the artist's message. The cold, industrial feel of this metallic piece resonates with me. It seems like a snapshot of moving wheels and shows no emotion, like the emotionless gaze of a children on a road trip staring at scenery as it moves by, going too fast to appreciate its beauty. It is like the blank stare of a factory worker as they operate machinery on an assembly line during the long laborious work day. It is like the blank stare of a teenager staring at their cell phone, disconnected from the real world. It is cold, hard and dead like a forest clearing after being razed to the ground. It is black, as black as the ocean after an oil spill, or as black as the polluted sky above a factory. It stands out in ugliness in Marvin Grove, which turns its placement into a message itself. It protrudes from the grove like how the highways of this nation romp over what was once, pure green land. Its rigid geometric shapes sharply contrast to the open, living plants of the grove. Looking at the sculpture it appears solemn and ominous, like a monument recollecting a past tragedy. But the tragedy this monument is remembering is not a tragedy of the past; this is monument is a warning for the future, and its tragedy is unfolding before our very eyes. Now the question is, are you going to let the steel wheels crush the natural beauty of the earth? Or are you going to try to stop this great catastrophe from unfolding? This is Jack with another Bulldog Podcast.","youtube":null,"tourMarker":null},{"id":274,"mediaID":116195,"objectID":14521,"name":"1982.0094view2","ext":"jpg","linkID":"1982.0094view2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":154,"mediaID":13043,"objectID":9765,"name":"1956.0029","ext":"jpg","linkID":"1956.0029","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2038,"mediaID":75245,"objectID":36962,"name":"2007.4077","ext":"jpg","linkID":"2007.4077","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2036,"mediaID":151386,"objectID":36962,"name":"2007.4077view002","ext":"jpg","linkID":"2007.4077view002","typeDesc":"Still 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A display case in the Spencer's Medieval Gallery holds a stained glass roundel, or round panel, depicting the Jewish heroine, Judith, who saved her people from the invasion of the Assyrians by decapitating their general, Holofernes. According to the Apocryphal Book of Judith, this virtuous widow entered the Assyrian camp and ingratiated herself to Holofernes. After an evening of heavy drinking, Holofernes fell into a stupor and Judith cut off his head with his own sword. Without their general, the Assyrians lost their will to fight and left the Kingdom of Judah unscathed. The Spencer\u2019s roundel shows an imposing-looking Judith dressed in a flowing, orange-colored garment. She brandishes a sword over her head in her right hand and holds the head of Holofernes in her left. This work was created in 1563 by an unknown artist from Augsburg [ouks\u2019boork], Germany, a city with a long tradition of stained glass production. 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This question isn\u2019t on the recording\r\n\r\nThe four entwined cranes in this sculpture, ancient symbols of peace, represent the four nations in the Korean conflict: the United States, China, North Korea, and South Korea. In many cultures, cranes have been recognized for their beauty, lifespan, pair bonding, and dancing. In fact, a crane dance has been performed for the last 1300 years in Korea. \r\n\r\nWalk around the sculpture. Sit on one of the benches. Consider it in relation to its surroundings. 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I\u2019m David Cateforis with another Art Minute from the Spencer Museum of Art. A large oil painting in the Spencer's 19th century gallery depicts a seated woman in a shimmering gossamer gown. Through an open window at the left we see a flock of black crows ominously set against a gray sky. The painting contrasts the woman\u2019s luxurious attire with her dire circumstances. The English artist Dante Gabriel Rossetti painted this woman, Lia Pia de Tolommei, who is unjustly imprisoned in a tower by her husband. Her story is told in the famous Italian poem, THE DIVINE COMEDY, by Dante Aligheri. Rossetti, himself a poet, translated a portion of this poem into English and inscribed it on the painting\u2019s frame. Rossetti\u2019s model, Jane Morris, was a sad beauty with her dark wavy hair and statuesque profile. Hemmed in by dark foliage and the lances and banner of her estranged husband, La Pia tensely fingers her wedding ring. 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His face shows an emotion of distress. Maybe he was speaking to those who did not choose a side in the French Revolution, for them to stay quiet as the title, Le Discret, really means \u201cThe Silence\u201d. When the revolution began in 1789 Joseph Ducreux was the court painter to the King and Queen of France. As you could imagine, Ducreux was fearful of losing his life at this time of war and fled to London. There his painting modelled after contemporary theories of physiognomy were not as appreciated. So Ducreux bravely traveled back to France to paint facial features in the heat of the revolution once more. As you stare into the eyes and heart of the piece, it may bring a smile to your face, as it seems strange that a 1700s painter would create something so closely resembling the classic teenage pose of today, or a frown could arise. If you were in the intellectual aspect of the arts, you may think of the death and destruction of the great French Revolution. His green coat raises some eyebrows. As being the court painter to the King and Queen, he should not have any problem financially, yet he is wearing a very stressed green coat. His hair has greyed, as he was around the age of 60 at the time. Or maybe his hair color was from the stress of being under the control of the rulers of the land. Some say the longer you look into his eyes, the more silent you become. This has been Davis Reed with another Bulldog Podcast.","youtube":null,"tourMarker":null},{"id":1027,"mediaID":135122,"objectID":9141,"name":"1951.0074.004","ext":"mp3","linkID":"1951.0074.004","typeDesc":"Sound Recording","description":"Hear a SWMS student's perspective.","displayDescription":"Hear a SWMS student's perspective.","transcript":null,"youtube":null,"tourMarker":null},{"id":1024,"mediaID":149240,"objectID":9141,"name":"1951.0074.005","ext":"mp3","linkID":"1951.0074.005","typeDesc":"Sound Recording","description":"Hear a SWMS student's perspective.","displayDescription":"Hear a SWMS student's perspective.","transcript":"Secrets. Everyone has them. No matter how big or small, it\u2019s a commonality between us all. At least, Joseph Ducreux (Day-crew) saw it that way, as shown in his self portrait Le Discret (Lay Diss-cray). But what was a painter during the reign Marie-Antoinette and King Louis the 16th trying to hide? Well that, my friend, is just another secret. We don\u2019t know why Joseph is asking us to be quiet. We don\u2019t know how major or minor of a transgression he may, or may not have committed. All we know is that he\u2019s asking us to keep it a secret, regardless of the fact we don\u2019t know what secret we\u2019re keeping. But as you look further into the painting, you may realize that that isn\u2019t the only discreet thing in it. Joseph, with his dull colored coat, just seems to blend into the background, almost as if he\u2019s trying to disappear. The only colors that really catch your eye in Le Discret are Joseph\u2019s head and hand. Everything else in this painting is discreet. But so are a lot of things in our world. This has been shown especially with the COVID-19 pandemic. For a while, it seemed like everyone was trying to keep everything secret, only sharing the information that they deemed essential. But, as we now have learned through seeing the effects, we can only truly thrive and make progress as a world if we share what we know, and work together to learn more. Once we overcome our instinct to keep secrets from others in the world, the possibilities of what we can achieve are greatly expanded. Of course, this isn\u2019t true all the time. Sometimes, a secret is just a secret. So, although we may never know what secret Joseph is wanting us to keep, we don\u2019t need to. Because then would he truly be keeping a secret? This has been Jake Loos with another bulldog audio tour.","youtube":null,"tourMarker":"Bulldog Art Tour"},{"id":2068,"mediaID":64103,"objectID":43221,"name":"2010.0188","ext":"jpg","linkID":"2010.0188","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2069,"mediaID":64104,"objectID":43221,"name":"2010.0188det1","ext":"jpg","linkID":"2010.0188det1","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2067,"mediaID":64102,"objectID":43221,"name":"2010.0188view2","ext":"jpg","linkID":"2010.0188view2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1519,"mediaID":85731,"objectID":45895,"name":"2013.0057","ext":"jpg","linkID":"2013.0057","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":644,"mediaID":85575,"objectID":45894,"name":"2013.0056","ext":"jpg","linkID":"2013.0056","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2100,"mediaID":85573,"objectID":45892,"name":"2013.0054","ext":"jpg","linkID":"2013.0054","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1815,"mediaID":97941,"objectID":47033,"name":"2014.0053.a,b","ext":"jpg","linkID":"2014.0053.a,b","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1816,"mediaID":97942,"objectID":47033,"name":"2014.0053.a,bview2","ext":"jpg","linkID":"2014.0053.a,bview2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1061,"mediaID":447,"objectID":10150,"name":"1960.0046","ext":"jpg","linkID":"1960.0046","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":229,"mediaID":63930,"objectID":12481,"name":"1975.0062","ext":"jpg","linkID":"1975.0062","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":230,"mediaID":63931,"objectID":12481,"name":"1975.0062view2","ext":"jpg","linkID":"1975.0062view2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":231,"mediaID":63932,"objectID":12481,"name":"1975.0062view3","ext":"jpg","linkID":"1975.0062view3","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":113,"mediaID":156140,"objectID":9170,"name":"https:\/\/bit.ly\/3utejkM","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"See a similar sculpture set in a \"rosenkranz\"","displayDescription":"See a similar sculpture set in a \"rosenkranz\"","transcript":null,"youtube":null,"tourMarker":null},{"id":104,"mediaID":49041,"objectID":9170,"name":"1952.0001","ext":"mp3","linkID":"1952.0001","typeDesc":"Sound Recording","description":"Didactic \u2013 Art Minute","displayDescription":"Didactic \u2013 Art Minute","transcript":"Episode 9\r\nOct-2004, David Cateforis, Associate Professor of Art History \r\nI\u2019m David Cateforis with another art minute from the Spencer Museum of Art. A masterpiece of late medieval art in the Spencer collection is a Virgin and Child by the German sculptor Tilmann Riemenschneider. Riemenschneider had a thriving sculpture workshop in W\u00fcrzburg in the early 16th century, and he was also a civic leader who served for a time as burgomaster. He carved the Spencer\u2019s four-foot-high virgin and child out of lindenwood, and he left the wood\u2019s natural finish - an innovation at a time when most sculptures were painted and gilded. The tall, slender Virgin Mary with her large head, wavy hair, and delicate features seems simultaneously sweet and solemn. She wears a heavy robe that falls in sharply creased, angular folds, and her right foot rests on a small crescent moon, a traditional symbol of her purity. The naked baby Jesus tenderly touches his mother\u2019s hair. She holds him protectively while at the same time offering him as a sacrifice. Probably made for a Christian church, Riemenschneider\u2019s sculpture held deep religious meaning for its original viewers, and even today, in a museum gallery, it still has the power to move us. 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England.","transcript":null,"youtube":null,"tourMarker":null},{"id":1169,"mediaID":13086,"objectID":14476,"name":"1982.0050","ext":"jpg","linkID":"1982.0050","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1481,"mediaID":69374,"objectID":43807,"name":"2011.0147","ext":"jpg","linkID":"2011.0147","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1480,"mediaID":69390,"objectID":43807,"name":"2011.0147det1","ext":"jpg","linkID":"2011.0147det1","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1477,"mediaID":69375,"objectID":43807,"name":"2011.0147det2","ext":"jpg","linkID":"2011.0147det2","typeDesc":"Still 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Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1304,"mediaID":128494,"objectID":30712,"name":"http:\/\/artradarjournal.com\/2011\/06\/15\/words-in-arts-wenda-gu-on-rewriting-and-reranslating-traditional-culture\/","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"Read \u201cWords in Art,\u201d an interview with Wenda Gu, from Art Radar","displayDescription":"Read \u201cWords in Art,\u201d an interview with Wenda Gu, from Art Radar","transcript":null,"youtube":null,"tourMarker":"Spencer Selections (with audio descriptions)"},{"id":1306,"mediaID":128496,"objectID":30712,"name":"https:\/\/www.sfmoma.org\/watch\/gu-wenda-on-the-artist-as-peacemaker\/","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"Watch \u201cGu Wenda on the artist as peacemaker\u201d from SFMOMA (3:43)","displayDescription":"Watch \u201cGu Wenda on the artist as peacemaker\u201d from SFMOMA (3:43)","transcript":null,"youtube":null,"tourMarker":"Spencer Selections (with audio descriptions)"},{"id":1305,"mediaID":128495,"objectID":30712,"name":"https:\/\/www.sfmoma.org\/watch\/how-gu-wenda-turns-hair-and-glue-into-works-of-art\/","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"Watch \u201cHow Gu Wenda turns hair and glue into works of art\u201d from SFMOMA (2:11)","displayDescription":"Watch \u201cHow Gu Wenda turns hair and glue into works of art\u201d from SFMOMA (2:11)","transcript":null,"youtube":null,"tourMarker":"Spencer Selections (with audio descriptions)"},{"id":1310,"mediaID":72344,"objectID":30712,"name":"2006.0162.a,b,c","ext":"mp3","linkID":"2006.0162.a,b,c","typeDesc":"Sound Recording","description":"Art Minute with David Cateforis","displayDescription":"Art Minute with David Cateforis","transcript":"Episode 127\r\nOct-2007\r\nI\u2019m David Cateforis with another Art Minute from the Spencer Museum of Art. Today\u2019s artists make art out of every imaginable material, even human hair. Hair is the signature medium of Wenda Gu, who was born in Shanghai in 1955 and moved to New York in 1988. The Spencer\u2019s 2004 work by Gu, Metamorphoses, comprises three large, delicate suspended panels made of hair pressed into glue, supported by a twine matrix, and shaped into unreadable writing: English on the left, ancient Chinese seal script on the right, and a synthesized English-Chinese character in the center. Gu\u2019s pseudo-scripts suggest the limitations of language as a medium of communication, both within and across cultures. But the hair that constitutes the writing is something that all viewers can identify with and understand on a basic level. The work clearly relates to Gu\u2019s personal experience as a transnational artist immersed in both Chinese and American cultures. In larger terms, it invites us to ponder the relationship between language and culture, communication and \u201cmisunderstanding,\u201d and to consider Gu\u2019s claim that \u201chuman knowledge is always secondary to the body.\u201d From the Spencer Museum of Art, I\u2019m David Cateforis.","youtube":null,"tourMarker":null},{"id":1311,"mediaID":30380,"objectID":30712,"name":"2006.0162.a,b,c","ext":"jpg","linkID":"2006.0162.a,b,c","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1307,"mediaID":136233,"objectID":30712,"name":"2006.0162.a,b,c.002","ext":"mp3","linkID":"2006.0162.a,b,c.002","typeDesc":"Sound Recording","description":"Listen to core object information.","displayDescription":"Listen to core object information.","transcript":"The artist is Wenda Gu, born 1955 in Shanghai China.\r\n\r\nThe title of the work is Metamorphoses, created in 2004.\r\n\r\nThis work is made with hair, glue, and twine.","youtube":null,"tourMarker":"Spencer Selections (with audio descriptions)"},{"id":1309,"mediaID":136235,"objectID":30712,"name":"2006.0162.a,b,c.003","ext":"mp3","linkID":"2006.0162.a,b,c.003","typeDesc":"Sound Recording","description":"Listen to Audio Description","displayDescription":"Listen to Audio Description","transcript":"Metamorphosis consists of three large panels hung side by side showing a combination of illegible English and Chinese characters. Each is a little over six and a half feet high and four feet wide. The panels are hung on wooden rods by multiple strands of twine spaced approximately every eight inches. The ends of the twine stretch down the back of the panels past the lower edge, extending 8\u201312 inches. The panels hang away from the wall about six inches.\r\n\r\nThe semi-transparent panels are constructed of glue, human hair, and twine. There are swirls of brown and black hair held in place by a thin layer of glue creating a web-like effect. The hair is gathered into thicker strips to form letters and characters. The hair on the left panel has seven lines of English cursive script formed from black hair. At first glance, the words seem to be intelligible, but on closer examination, they are meaningless except for a few words such as \u201cof,\u201d \u201cor,\u201d and \u201cno.\u201d\r\n\r\nThe center panel has one large character taking up most of the panel. This character appears at first glance to be a Chinese character, but on closer look, also resembles the letter K.\r\n\r\nThe right panel has four lines of Chinese characters, also constructed of hair. The artist says that the Chinese characters are also meaningless text.","youtube":null,"tourMarker":"Spencer Selections (with audio descriptions)"},{"id":1308,"mediaID":136234,"objectID":30712,"name":"2006.0162.a,b,c.004","ext":"mp3","linkID":"2006.0162.a,b,c.004","typeDesc":"Sound Recording","description":"Listen to App Text","displayDescription":"Listen to App Text","transcript":"Influenced by the tradition of Chinese calligraphy, Wenda Gu transforms human hair and glue into textile-like panels adorned with invented writing and characters that are meant to confuse or frustrate the viewer. Tap on the Web icon to find out more about Gu\u2019s work with language and the process of working with hair and glue. The work\u2019s title, Metamorphoses, suggests transformation and change. In this artwork, hair transforms into script and the language becomes a set of unreadable signs. By muddling both the characteristics of the hair as a physical material produced by humans and language as a conceptual marker of humanity, Gu looks to a future in which human society transforms into a unified whole.\r\n\r\nWhat kinds of reactions do you have to this work? How do they support or differ from the artist\u2019s intended meanings?","youtube":null,"tourMarker":"Spencer Selections (with audio descriptions)"},{"id":1312,"mediaID":30381,"objectID":30712,"name":"2006.0162.a,b,cdet1","ext":"jpg","linkID":"2006.0162.a,b,cdet1","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1313,"mediaID":30382,"objectID":30712,"name":"2006.0162.a,b,cdet2","ext":"jpg","linkID":"2006.0162.a,b,cdet2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1314,"mediaID":30383,"objectID":30712,"name":"2006.0162.a,b,cdet3","ext":"jpg","linkID":"2006.0162.a,b,cdet3","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1315,"mediaID":30384,"objectID":30712,"name":"2006.0162.a,b,cdet4","ext":"jpg","linkID":"2006.0162.a,b,cdet4","typeDesc":"Still 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Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1636,"mediaID":151639,"objectID":62261,"name":"2002.0121.o","ext":"jpg","linkID":"2002.0121.o","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1113,"mediaID":47303,"objectID":12475,"name":"1975.0056","ext":"jpg","linkID":"1975.0056","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1112,"mediaID":119822,"objectID":12475,"name":"1975.0056.001","ext":"mp3","linkID":"1975.0056.001","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":null,"youtube":null,"tourMarker":null},{"id":1114,"mediaID":143106,"objectID":12475,"name":"1975.0056.002","ext":"mp3","linkID":"1975.0056.002","typeDesc":"Sound Recording","description":"Hear a SWMS student's perspective.","displayDescription":"Hear a SWMS student's perspective.","transcript":null,"youtube":null,"tourMarker":"Bulldog Art Tour"},{"id":350,"mediaID":49092,"objectID":21603,"name":"1995.0144","ext":"mp3","linkID":"1995.0144","typeDesc":"Sound Recording","description":"Didactic \u2013 Art Minute","displayDescription":"Didactic \u2013 Art Minute","transcript":"Episode 27\r\nI\u2019m David Cateforis with another art minute from the Spencer Museum of Art. Sanford Gifford\u2019s 1867 painting, \u201cMorning in the Adirondacks,\u201d is both an image of the grandeur of American nature and man\u2019s transformation of it. The painting depicts a cozy log cabin built at the frontier of a secluded mountain landscape. Majestic peaks caressed by low-drifting clouds loom above a tranquil lake, while near the cabin, tiny human figures stir by the shore. The remote and pristine quality of the wilderness is interrupted by splintered tree stumps at the lower left - a clear indication of the human presence in this landscape. As two men prepare to launch a canoe at the water\u2019s edge, our eye is drawn to a second boat that has already ventured ahead, boldly traversing the seemingly-endless passage before it.\r\nBy the time Gifford made this painting in the years right after the Civil War, the Northeastern states were becoming highly industrialized. For some, this development prompted nostalgia for the pioneering traditions of the past. \u201cMorning in the Adirondacks\u201d is a beautiful example of such wistful reminiscence, and one of the Spencer\u2019s most important American paintings. With thanks to Joanna Sternberg for her text, from the Spencer Museum of Art, I\u2019m David Cateforis.","youtube":null,"tourMarker":null},{"id":351,"mediaID":44979,"objectID":21603,"name":"1995.0144","ext":"jpg","linkID":"1995.0144","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":355,"mediaID":119707,"objectID":21603,"name":"1995.0144.002","ext":"mp3","linkID":"1995.0144.002","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":null,"youtube":null,"tourMarker":null},{"id":354,"mediaID":119918,"objectID":21603,"name":"1995.0144.003","ext":"mp3","linkID":"1995.0144.003","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":null,"youtube":null,"tourMarker":null},{"id":349,"mediaID":121998,"objectID":21603,"name":"1995.0144.004","ext":"mp3","linkID":"1995.0144.004","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Art Tour","displayDescription":"Audio Tour \u2013 Bulldog Art Tour","transcript":null,"youtube":null,"tourMarker":null},{"id":353,"mediaID":143117,"objectID":21603,"name":"1995.0144.005","ext":"mp3","linkID":"1995.0144.005","typeDesc":"Sound Recording","description":"Hear a SWMS student's perspective.","displayDescription":"Hear a SWMS student's perspective.","transcript":null,"youtube":null,"tourMarker":null},{"id":348,"mediaID":149245,"objectID":21603,"name":"1995.0144.006","ext":"mp3","linkID":"1995.0144.006","typeDesc":"Sound Recording","description":"Hear a SWMS student's perspective.","displayDescription":"Hear a SWMS student's perspective.","transcript":"This Land, an exhibition by Kate Meyer, (specifically the painting is morning in the Adirondacks By Sanford Robinson Gifford.) With its deep hues and even deeper meanings, this sunlit valley is a piece that represents many things, from the mistreatment of the land and its indigenous people, to the power of national icons. This piece brings a strong feeling of warmth and peace with its warm tones and its light contrasts, as if to say that while our land is beautiful it must be treated as if it is the most expensive thing we have. With pollution, displacement of animals and people\u2019s, and constant chopping of not only the trees but our ozone layer, we have not taken these messages seriously enough. This Land is our only land, for we have no second place to go to once we have completely destroyed these sloped valleys and calm waters, with trees and grass going ever so slowly, blowing gently in the breeze. If you look closely you\u2019ll see that in the near sight of the painting, what\u2019s closest to you, is chopped down, and destroyed, but you don\u2019t see that when you look at the painting immediately, only once you really take a look. Just like in times now, with Covid-19, people only looked at how many people weren\u2019t infected and decided not to do anything about the virus until it was practically too late. Just as it happens in nature, for example with issues like climate change, an issue that is laughed at by almost one fourth of America and the number is rising as people in power corrupt the minds of the population. We can change and there is hope for the future, we just have to look close, and do our part to protect, This Land.","youtube":null,"tourMarker":"Bulldog Art Tour"},{"id":352,"mediaID":44980,"objectID":21603,"name":"1995.0144view2","ext":"jpg","linkID":"1995.0144view2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":682,"mediaID":134512,"objectID":52771,"name":"https:\/\/goo.gl\/maps\/yHZTRrRNLwk","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"SEE directions to this sculpture by tapping number 4 on this map","displayDescription":"SEE directions to this sculpture by tapping number 4 on this map","transcript":null,"youtube":null,"tourMarker":"Campus Sculpture Tour"},{"id":689,"mediaID":106305,"objectID":52771,"name":"T2015.103","ext":"jpg","linkID":"T2015.103","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":683,"mediaID":101748,"objectID":52771,"name":"T2015.103.001","ext":"mp3","linkID":"T2015.103.001","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Ear for Art","displayDescription":"Audio Tour \u2013 Ear for Art","transcript":"The sculpture depicts Moses, a religious leader, lawgiver, and prophet. He is credited with the authorship of the Hebrew Bible and is important in Christianity, Islam and many other faiths. \r\n\r\nMoses is looking at an image of a burning bush in the stained glass window. Together the sculpture and the window create a three dimensional version of the University of Kansas seal. \r\n\r\n\r\nKU's first chancellor, Rev. Oliver, chose the seal in 1866. It was redesigned by Elden Tefft, the artist who created the sculpture, for the university's centennial in 1966.\r\n\r\nThe university seal depicts Moses kneeling in awe before a bush engulfed in flames. In many stories and myths, fire symbolizes knowledge. Moses is thought to represent the humble attitude of the scholar who recognizes the unquenchable nature of the pursuit of knowledge and truth.\r\n\r\nElden Tefft also created the sculpture of the jayhawk in front of Strong Hall. He was a long time KU professor and founder of the International Sculpture Center, an organization that works to advance the creation and understanding of sculpture.","youtube":null,"tourMarker":"Campus Sculpture Tour"},{"id":684,"mediaID":114956,"objectID":52771,"name":"T2015.103.002","ext":"mp3","linkID":"T2015.103.002","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"My podcast is on the sculpture Moses, by Elden Tefft, but before I talk about how this piece of art made me feel, I want to give some information to the creator Elden Tefft. Elden was born in Hartford Kansas in 1919. As a young child Elden always dreamed of having a career in magic, he could even spit fire and swallow swords whole. For high school Elden was enrolled in Lawrence high and found his passion in art. Soon after discovering his love for sculpting Elden was called to duty as a pilot for World War 2. After his service  Elden returned to his studies earning his bachelors and master\u2019s degree at KU, he would then spend the next 40 years teaching the next generation of artists.\r\n\r\nThe location of the sculpture is at the Smith Religious Studies and has been there since 1982. I chose Moses because of the complexity and how much detail Elden put in the sculpture itself, I always had interest in accuracy, whether it be in art or nature. The mood of this art is peaceful and captivating to the naked eye, making you feel minuscule when close to sculpture. This art reminded me of the Holy Grail in Brazil because of the religious ties both of them share. The sculpture itself is made out of bronze with parts of the art being smooth and other parts being rough. The sculpture depicts Moses praying in the direction of the Burning Bush made entirely out of stained glass. Even though it\u2019s not technically a part of the piece, it adds a whole new dynamic to the sculpture. After noticing the Burning Bush I had no doubt in my mind that there were direct ties with the Book of Exodus. The Exodus tells the story of how Moses saves the Israelites from Egyptian enslavement with the help of the Burning Bush, which symbolizes God. Knowing that there was a biblical reference to the sculpture, it lead me to ask other questions like \u201cWhy was Moses hollowed out as if he was some sort of cage?\u201d and \u201cWhat are the strange scars on Moses\u2019s feet, body, and clothing?\u201d . Maybe Elden was trying tells us something about the darker side of slavery?. My thinking was that Elden made the body of Moses cage like to symbolizes the trapped race that Moses must save. Or maybe that each scar on Moses\u2019s symbolizes the death of a persecuted Israelite, either way it opens new ways to interpret this piece of art.\r\n\r\n\tPerhaps Elden was trying to tell us something more than just a religious story. I believe that Elden used the biblical story to tell us a more inspiring look on life. At the beginning of the Book of Exodus it talks about how Moses finds God and gains eternal knowledge from doing so and becomes powerful enough to convince the Pharaoh of Egypt to let God\u2019s people out of slavery. This is telling us that Knowledge has a certain power that will never be challenged by any other power. Also in the Book of Exodus Moses drops everything to help his enslaved people, teaching us that no matter what the cost, always helps someone in need. \r\n\r\nThis has been Ja\u2019Brandion Douglas with another Bulldog Podcast.","youtube":null,"tourMarker":null},{"id":685,"mediaID":114957,"objectID":52771,"name":"T2015.103.003","ext":"mp3","linkID":"T2015.103.003","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"The bronze Moses statue, created by Elden Cecil Tefft, stands ten feet tall outside of Smith Hall, the religious studies building.  Elden C. Tefft is a world-renowned bronze sculptor who also created the Lawrence High Chesty Lion and the bronze Academic Jay that sits in front of Strong Hall at the University of Kansas.  He was a KU professor for many years and founded the International Sculpture Center. The Moses statue is a gift of Corinne Wooten Miller of Tonganoxie, given in memory of her husband, Charles E. Miller.  The stained glass window \u201cBurning Bush,\u201d sits across from the Moses statue and was designed by Smith Hall architect Charles L. Marshall.  Mr. and Mrs. L. Allyn Laybourn donated the window in memory of his parents.   \r\nRelating to the meaning behind the artistic piece, fire is a symbol of knowledge in many myths and stories.  In the biblical story of Exodus, God speaks to Moses through a burning bush.  He tells Moses that he has seen the Israelites struggling with slavery at the hands of the Egyptians.  He sends Moses to Pharaoh to bring God\u2019s people out of slavery and to a \u201cspacious land, a land flowing with milk and honey.\u201d  The sculpture, facing the stained glass window, illustrates the knowledge passed to Moses from God and is appropriate given the religious education provided at this location.  \r\nThe Moses statue is kneeling, with hands together in prayer.  His eyes are locked on a burning bush and it appears that his clothing is made of ribbons.  The bible mentions ribbons in Numbers 15:38-39,  \u201cSpeak unto the children of Israel, and bid them that they make them fringes in the borders of their garments throughout their generations, and that they put upon the fringe of the borders a ribbon of blue.  And it shall be unto you for a fringe, that ye may look upon it, and remember all the commandments of the Lord, and do them...\u201d  In this scripture, the word \u201cribbon\u201d refers to bound lace, twine, or thread and the blue ribbon is a tool for remembering God\u2019s commandments.  After the Israelite people escaped Egypt they came across a mountain named Mount Sinai, where Moses left them and went up to receive the Ten Commandments.  The Moses statue with clothing seemingly made of ribbons, appears to be symbolic of the fact that Moses was a messenger of God and provided God\u2019s commandments to the people.\r\nThe great challenges Moses experienced in his life required him to be brave and have great leadership skills.  The students at the University of Kansas must also have courage when they start out on their college career.  Seeing the Moses statue may help remind them of the Ten Commandments and overall make the University a better place.  Each time I see the statue I am reminded that some things must be done, that may not be comfortable, for the better of other people.  Moses stood up to Pharaoh and ultimately freed the Israelites from slavery.  He also listened to God and shared the knowledge he learned with the Israelites.  This meaningful statue fits in perfectly on a college campus due to its many encouraging reminders.\r\nThis has been Morgan Goeser with another Bulldog Podcast.","youtube":null,"tourMarker":null},{"id":686,"mediaID":114958,"objectID":52771,"name":"T2015.103.004","ext":"mp3","linkID":"T2015.103.004","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"The University Of Kansas is adorned with a vast collection of intricate statues, most created by former alumni. One of the most famous of these statues is the kneeling Moses outside of Smith Hall. This work of art was created by KU alumni Elden Tefft, and was dedicated to the University in 1982. The statue depicts a ten-foot bronze Moses kneeling with his hands crossed. Tefft created the statue to compliment the stained glass Burning Bush created by Charles Marshall. While the piece itself is quite simple to the eye, a matte bronze statue atop a plain concrete plinth, the story the piece tells is extraordinary.\r\n\r\nThis work of art is inspired by the book of Exodus in the old testament of the Bible. In the third chapter of Exodus, Moses is visited by God in the form of a burning bush. The burning bush speaks with the voice of God and instructs Moses to free the Israelites from Egyptian rule. In many cultures, fire is a symbol of knowledge, which I believe is why God took that form.\r\nThis piece symbolizes the great journey that is taken in the pursuit of knowledge. It uses texture to depict this journey. Moses\u2019 exposed face, hands, and feet are very roughly textured due to the hard road that Moses traveled to find the knowledge that could free his people.\r\n\r\nThis piece not only depicts the pursuit of knowledge, but also the bliss of ignorance. The statue of Moses appears to be wearing a robe made of a fence-like pattern. This could symbolize how Moses was trapped within himself due to his ignorance. Before God showed him the suffering of his own people, Moses was completely content being oblivious to his people\u2019s cries for help and mercy. If he had not been visited by God in the form of the burning bush, he would have spent the rest of his life trapped within a shell of his true self.\r\n\r\nUntil ignorance was vanquished with knowledge, Moses did not discover his true identity and the same can apply to us. Knowledge is a gateway to our genuine potential, and more importantly, our inner selves.\r\n\r\nThis has been Kyle Flachsbarth with another Bulldog Podcast.","youtube":null,"tourMarker":null},{"id":687,"mediaID":114959,"objectID":52771,"name":"T2015.103.005","ext":"mp3","linkID":"T2015.103.005","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"The 10 foot tall, 1.5 ton bronze statue of Moses outside of Smith Hall at the University of Kansas was crafted by Elden C. Tefft in 1982. This statue faces a stained glass window depicting the Burning Bush created by Charles L. Marshall of Topeka, Kansas. This piece has a profusion of important history that dates back to the era of the Bible. Moses is shown kneeling down on one leg with his hand over his heart, wearing woven clothes and a hat from the time period, and bare feet. He appears wise, and has a calm expression on his face.\r\nMoses is directly facing the Burning Bush stained glass window, which has a variety of reds and blues forming the picture of a flaming bush. Flames are known to symbolize knowledge in many other myths and stories, including this passage. Moses is thought to represent a man with a humble attitude who has recognized the pursuit of knowledge and truth. Moses\u2019 vision is described in the third chapter of Exodus in the Bible. It says, \u201c\u2018Do not come any closer,\u2019 God said. \u2018Take off your sandals, for the place where you are standing is holy ground.\u2019\u201d Moses is most likely barefoot in the sculpture because of the description in this verse.\r\nMarshall\u2019s stained glass window complements Tefft\u2019s sculpture with an exemplary balance of color and texture which contrasts effortlessly with Moses\u2019s rough, gray, weathered structure. This duo makes a great example of what else to expect in Kansas University\u2019s resident religious building, Smith Hall. The sculpture of Moses can be interpreted in many ways, and all implications are worthy of being acknowledged since this piece can be construed differently by everyone. This has been Ella Young with another Bulldog Podcast.","youtube":null,"tourMarker":null},{"id":688,"mediaID":114960,"objectID":52771,"name":"T2015.103.006","ext":"mp3","linkID":"T2015.103.006","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"A statue of Moses kneels as he prays in front of a stained glass window depicting a burning bush. The statue weighs approximately one and a half tons and stands ten feet tall on a four foot plinth. The open webbing of the clothing reminds me of a basket weave, and contrasts with the solid bronze of the feet and face. This display, created by bronze sculptor and Professor Elden C. Tefft in 1982, creates a model of a story from Exodus in the Christian bible. In this story, Moses is tending a flock of sheep when he sees a bush burning and walks over to it wondering why it doesn\u2019t just burn up. God called to him from within the bush, telling him that he was to go into Egypt and free his people currently working there as slaves. The sculpture stands, appropriately, in front of Smith Hall, the building for religious studies on KU campus. It also creates a three dimensional version of the seal of KU, which features the same scene from Exodus. In the seal, and therefore the sculpture, fire is made to represent knowledge, and Moses represents the humble scholar bowing in front of great knowledge. The religious leader\u2019s stoic, worshipping features show respect for the bush\u2019s power. In my opinion, the way the clothing is weaved could represent coming apart before this knowledge, or the God that Moses worships. As God says in the bible, \u201cThis is what you must say to the people of Israel: The LORD God of your ancestors, the God of Abraham, Isaac, and Jacob, has sent me to you. This is my name forever. This is my title throughout every generation.\u201d\r\nThis has been Rheanne with another bulldog podcast.","youtube":null,"tourMarker":null},{"id":2249,"mediaID":78353,"objectID":37684,"name":"2007.4227.a,b","ext":"jpg","linkID":"2007.4227.a,b","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2250,"mediaID":78354,"objectID":37684,"name":"2007.4227.a,bview2","ext":"jpg","linkID":"2007.4227.a,bview2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2251,"mediaID":78355,"objectID":37684,"name":"2007.4227.a,bview3","ext":"jpg","linkID":"2007.4227.a,bview3","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2252,"mediaID":78356,"objectID":37684,"name":"2007.4227.a,bview4","ext":"jpg","linkID":"2007.4227.a,bview4","typeDesc":"Still 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Who would have known that he would grow up to become what some consider as one of the world\u2019s most distinguished painters? Catel was born in 1778 in Berlin, Germany and always had shown interest in art. He studied at the Acadmie des Beaux-Arts in Paris. In 1807, he began to make a name for himself for his watercolor works. Eventually, Catel decided that his area of expertise was with the painting of Italian landscapes, and from there, his career blossomed. During a time when early Realism and Romanticism filled a majority of art work, Catel\u2019s works were very popular. It was in 1823 that Franz Ludwig Catel painted the piece of art known as \u201cNuns in the Certosa Cloister\u201d. This painting originally depicted monks, not nuns. However, Catel\u2019s second rendition of this work of art was more popular than his original. At first glance, \u201cNuns in the Certosa Cloister\u201d is just a painting of three nuns above a body of water. 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She looks forlorn, possibly sad, maybe just exhausted. After observing this artwork thoroughly, this painting leaves me with a sense of tranquility. I feel a curiosity for what lies beyond the doors of the cloister. This painting makes me think. Undoubtedly, Franz Ludwig Catel wants to leave viewers with a feeling of peace and harmony. This painting represents an age of Enlightenment, perhaps a revolution. It prods questions to which it can give no answers. I wonder, what is Catel\u2019s main purpose for painting this piece of art? What or whom lies beyond the doorways, emitting light? To me, this work of art is more than just a painting on the wall; it is a look into the past, begging your mind to travel back to a world lost in time. This is Katie Gaches, with another Bulldog podcast.","youtube":null,"tourMarker":null},{"id":871,"mediaID":136275,"objectID":48,"name":"2002.0030.002","ext":"mp3","linkID":"2002.0030.002","typeDesc":"Sound Recording","description":"Listen to core object information.","displayDescription":"Listen to core object information.","transcript":"The artist is Franz Ludwig Catel, born 1778 in Berlin, Kingdom of Prussia (present-day Germany), died 1856, in Rome, Papal States (present-day Italy).\r\n\r\nThe title of the work is Nuns in the Certosa Cloister, overlooking a moonlit Sean towards the Faraglioni, Capri, created circa 1823.\r\n\r\nThe work is made with oil on canvas.","youtube":null,"tourMarker":null},{"id":872,"mediaID":136276,"objectID":48,"name":"2002.0030.003","ext":"mp3","linkID":"2002.0030.003","typeDesc":"Sound Recording","description":"Listen to Audio Description","displayDescription":"Listen to Audio Description","transcript":"Nuns in the Certosa Cloister, Overlooking a Moonlit Sea towards the Faraglioni, Capri is a night scene painting of three nuns in an exterior colonnade, or arched hallway, of a cloister on a cliff overlooking the sea. One nun in a pale, paneled gown stands facing our left at an open door. Her face is illuminated with a warm light as if she is holding a candle, though our view is blocked by the open door. Her shadow stretches across the floor. Another nun walks toward us with her hands tucked inside her robe, her face in shadow. The last nun sits with her face resting on her hand, her elbow on the ledge overlooking the sea. Through the high arches of colonnade, the moon rises over the water among broken clouds. The cool light from the moon reflects on the gentle waves, and casts the other architecture along the rocky cliffs in silhouette. Back in the colonnade, the light from the nun\u2019s candle illuminates the vaulted arches overhead, and the stairs that lead away from us. Above the stairs a sign reads, SILENCIO. We imagine the sound of the waves and the snoring nun disturbing the quiet night.","youtube":null,"tourMarker":null},{"id":873,"mediaID":136277,"objectID":48,"name":"2002.0030.004","ext":"mp3","linkID":"2002.0030.004","typeDesc":"Sound Recording","description":"Listen to Label Text","displayDescription":"Listen to Label Text","transcript":"The Certosa di San Giacomo (Charterhouse of St. James) was founded in the 14th century as a Carthusian monastery, likely atop an earlier Roman site. The structure was characterized by fanned, hemispherical vaults with distinctive detailing at their points of intersection. Having survived raids by Saracen pirates, plague, invasion, religious suppression, and abandonment, by the 19th century the cloister had served as a jail, a hospice for invalids, and an army barracks. Catel, an expatriate German artist active in Italy, reimagines religious life in the cloister, and in this version, places nuns within the historically male institution. Dramatically illuminating the scene with both a full moon and candlelit interiors, Catel constructs a vision of pious contemplation. In the 19th century, artists employed Gothic ruins and revivalist styles to conjure a mythologized medieval past of spirituality unmarred by industrialization and commerce.","youtube":null,"tourMarker":null},{"id":1233,"mediaID":134981,"objectID":18343,"name":"1993.0361","ext":"jpg","linkID":"1993.0361","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2245,"mediaID":82499,"objectID":37673,"name":"2007.1266","ext":"jpg","linkID":"2007.1266","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2246,"mediaID":82500,"objectID":37673,"name":"2007.1266view2","ext":"jpg","linkID":"2007.1266view2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2247,"mediaID":82501,"objectID":37673,"name":"2007.1266view3","ext":"jpg","linkID":"2007.1266view3","typeDesc":"Still 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Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":null,"youtube":null,"tourMarker":null},{"id":1102,"mediaID":119920,"objectID":11124,"name":"1971.0052.002","ext":"mp3","linkID":"1971.0052.002","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":null,"youtube":null,"tourMarker":null},{"id":1104,"mediaID":119980,"objectID":11124,"name":"1971.0052.003","ext":"mp3","linkID":"1971.0052.003","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"1. Man has no Body distinct from his Soul; for that call\u2019d Body is a portion of Soul discern'd by the five Senses, the chief inlets of Soul in this age.\r\n2. Energy is the only life, and is from the Body; and Reason is the bound or outward circumference of Energy.\r\n3. Energy is Eternal Delight.\r\n\r\n-William Blake, 1793, in the \u201cMarriage of Heaven and Hell\".\r\n\r\nEnergy. Something that may not seem beautiful, but in Pale Lens by Frederick John Eversley, it shows just that. The piece is based off the idea of the manipulation of energy, using materials such as cast polyester to do so. The piece was created in 1970 and is located in the Forms of Thought gallery, which is quite apropos, because of how abstract it is to outsiders, like the human mind itself. When I first walked up to the piece, I expected it to be like a mirror and show my reflection, but maybe that\u2019s just me being vain. I chose this piece because of the way it made me think about a different way to see the world around me and how other people see it differently than I do. It showed other places in the room in a contorted manner, not unlike how someone\u2019s thoughts might seem to another person. It also made me think about how things aren\u2019t always what they seem and how you may expect one thing and find another because of the way I expected it to be like a mirror and it wasn\u2019t. Another great aspect of this piece is how it makes you curious and gets you thinking about how it works. I started experimenting with it by hovering my hand by different sides of the piece (while making sure not to touch it because rules are rules) to see how it would reflect and I was really intrigued by the different ways my hand was shown. The amount of complexity in the design of Pale Lens is no coincidence seeing as Frederick was originally an engineer. His art was created as experimentation with the controlling of light and energy. The piece shows the beauty in curiosity, an understanding of the world, and how sometimes a little bit of a twisted perspective of the world around you can be a good thing, depending on how you look at it. This has been Nora Agah with another bulldog podcast.","youtube":null,"tourMarker":null},{"id":1108,"mediaID":121983,"objectID":11124,"name":"1971.0052.004","ext":"mp3","linkID":"1971.0052.004","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Art Tour","displayDescription":"Audio Tour \u2013 Bulldog Art Tour","transcript":null,"youtube":null,"tourMarker":null},{"id":1105,"mediaID":135129,"objectID":11124,"name":"1971.0052.005","ext":"mp3","linkID":"1971.0052.005","typeDesc":"Sound Recording","description":"Hear a SWMS student's perspective.","displayDescription":"Hear a SWMS student's perspective.","transcript":null,"youtube":null,"tourMarker":null},{"id":1106,"mediaID":143672,"objectID":11124,"name":"1971.0052.006","ext":"mp3","linkID":"1971.0052.006","typeDesc":"Sound Recording","description":"Listen to core object information.","displayDescription":"Listen to core object information.","transcript":null,"youtube":null,"tourMarker":"Altered Perspectives"},{"id":1107,"mediaID":143673,"objectID":11124,"name":"1971.0052.007","ext":"mp3","linkID":"1971.0052.007","typeDesc":"Sound Recording","description":"Listen to Audio Description","displayDescription":"Listen to Audio Description","transcript":null,"youtube":null,"tourMarker":"Altered Perspectives"},{"id":1908,"mediaID":158260,"objectID":11236,"name":"https:\/\/www.si.edu\/object\/siris_jul_38209","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"See the life-size fountain.","displayDescription":"See the life-size fountain.","transcript":null,"youtube":null,"tourMarker":null},{"id":1906,"mediaID":7808,"objectID":11236,"name":"1971.0158","ext":"jpg","linkID":"1971.0158","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1907,"mediaID":7809,"objectID":11236,"name":"1971.0158det001","ext":"jpg","linkID":"1971.0158det001","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1680,"mediaID":35445,"objectID":3461,"name":"1928.0440.a,b","ext":"jpg","linkID":"1928.0440.a,b","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1303,"mediaID":24886,"objectID":29621,"name":"2005.0166.a,b","ext":"jpg","linkID":"2005.0166.a,b","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1245,"mediaID":156665,"objectID":18748,"name":"https:\/\/www.chihuly.com\/work\/persians","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"Learn more about Chihuly\u2019s Persians series.","displayDescription":"Learn more about Chihuly\u2019s Persians series.","transcript":null,"youtube":null,"tourMarker":null},{"id":1243,"mediaID":129159,"objectID":18748,"name":"https:\/\/youtu.be\/b1cOI51JC5o","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"WATCH \u201cDale Chihuly\u2019s Persians Series\u201d (10:26, skip to 5:00 to see the process)","displayDescription":"WATCH \u201cDale Chihuly\u2019s Persians Series\u201d (10:26, skip to 5:00 to see the process)","transcript":null,"youtube":null,"tourMarker":null},{"id":1244,"mediaID":49093,"objectID":18748,"name":"1996.0093","ext":"mp3","linkID":"1996.0093","typeDesc":"Sound Recording","description":"Didactic \u2013 Art Minute","displayDescription":"Didactic \u2013 Art Minute","transcript":"Episode 5\r\nJun-2004, Pat Villeneuve, Curator of Education\r\nI\u2019m David Cateforis with another art minute from the Spencer Museum of Art. As you walk through the front door of the Spencer, they catch your eye and draw you in. You gaze upward at six undulating glass disks that seem to float on the wall high above the central court. Perhaps three feet in diameter, the red and blue pieces by the Seattle glass artist Dale Chihuly sparkle in the light-and cast dramatic shadows. The six units, each unique in appearance, make up a work of art called \u201cPersian Wall.\u201d It was made specifically for the Spencer Museum of Art in 1996. Although many people assume the artist used KU colors, he chose red and blue to highlight the Renaissance paintings visible through the doorway below. There is another work of art by Dale Chihuly in the 20th-Century Gallery. \u201cViolet Persian with Red Lip Wraps\u201d is made from 20 separate pieces of sculptural glass. Three large, iridescent, purple shell forms nestle together to form the base of the work. 17 smaller pieces of glass lile in their folds, competing for space and attention. Yellow, green, blue, and pink, some are shaped like globes, trumpets, and rattles. A strip of contrasting color, usually red, wraps the edges of each richly textured piece. With thanks to Pat Villeneuve for her text, from the Spencer Museum of Art, I\u2019m David Cateforis.","youtube":null,"tourMarker":null},{"id":1246,"mediaID":6540,"objectID":18748,"name":"1996.0093","ext":"jpg","linkID":"1996.0093","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1242,"mediaID":119721,"objectID":18748,"name":"1996.0093.002","ext":"mp3","linkID":"1996.0093.002","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":null,"youtube":null,"tourMarker":null},{"id":2070,"mediaID":158256,"objectID":43832,"name":"https:\/\/www.sa-venues.com\/attractionswc\/gugulethu.php","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"See a similar photograph of the area.","displayDescription":"See a similar photograph of the area.","transcript":null,"youtube":null,"tourMarker":null},{"id":2071,"mediaID":80889,"objectID":43832,"name":"2011.0170","ext":"jpg","linkID":"2011.0170","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2072,"mediaID":80890,"objectID":43832,"name":"2011.0170view2","ext":"jpg","linkID":"2011.0170view2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1078,"mediaID":156691,"objectID":10180,"name":"https:\/\/spencerartapps.ku.edu\/collection-search#\/object\/9770","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"See a sculpture of Saint James carrying a pilgrim\u2019s flask in the Spencer\u2019s collection.","displayDescription":"See a sculpture of Saint James carrying a pilgrim\u2019s flask in the Spencer\u2019s collection.","transcript":null,"youtube":null,"tourMarker":null},{"id":1079,"mediaID":49124,"objectID":10180,"name":"1960.0076","ext":"mp3","linkID":"1960.0076","typeDesc":"Sound Recording","description":"Didactic \u2013 Art Minute","displayDescription":"Didactic \u2013 Art Minute","transcript":"I\u2019m David Cateforis with another Art Minute from the Spencer Museum of Art. The Spencer\u2019s Renaissance collection includes a mid-16th century Italian example of the clay art form known as Majolica ware. These earthenware ceramics are noted for their brilliantly colored surfaces, created by tin oxide glazes. The Spencer\u2019s jar features sky blue, golden yellow and cornhusk green. The two faces show an episode from the ancient myth of Proserpina, who ate six pomegranate seeds while in the underworld and was thus destined to live there every fall and winter for eternity while her mother Ceres mourned and made the plants wither. On one side, the Roman God of the underworld, Pluto, whisks away a startled Proserpina in his chariot. On the other side, sea nymphs and nude goddesses on nearby cliffs respond with alarm to the abduction. On both sides of the jar we see the frightened Proserpina in the dark underworld entrance, formed by the gaping mouths of horned creatures. 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Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1895,"mediaID":158437,"objectID":10163,"name":"1960.0059.001","ext":"mp3","linkID":"1960.0059.001","typeDesc":"Sound Recording","description":"Didactic \u2013 Art Minute","displayDescription":"Didactic \u2013 Art Minute","transcript":"I\u2019m David Cateforis with another art minute from the Spencer Museum of Art. The late nineteenth-century American painter John Singer Sargent is known for his full-length, life-size portraits of beautiful young women wearing luxurious gowns in elegant rooms, but the Spencer\u2019s portrait of Mrs. Daniel Sargent Curtis is different: It\u2019s just over two feet tall and shows only the bust and head of the sitter, wearing a black dress before a black background. Sargent used broad strokes to paint Mrs. Curtis\u2019s lace collar and the lace headcovering that cascades behind her. However, he painted her middle-aged face realistically, with great care. She sits turned to the side, not confronting the viewer-a choice that softens her gaze and portrays her as a thoughtful, intelligent woman. Although a distant relative of the Curtis family, Sargent only came to know them through their son, Ralph. The two young men studied art together in Paris, and Ralph invited Sargent to be a houseguest in the family\u2019s Venetian apartments in the Palazzo Barbaro. This 1882 portrait was a gift on one of those occasions. It is said to have pleased Mrs. Curtis. With thanks to Martha Rose for her text, from the Spencer Museum of Art, I\u2019m David Cateforis.","youtube":null,"tourMarker":null},{"id":7,"mediaID":13357,"objectID":963,"name":"0000.0900","ext":"jpg","linkID":"0000.0900","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2053,"mediaID":75261,"objectID":39319,"name":"2007.4081","ext":"jpg","linkID":"2007.4081","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2054,"mediaID":75262,"objectID":39319,"name":"2007.4081view2","ext":"jpg","linkID":"2007.4081view2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2055,"mediaID":75263,"objectID":39319,"name":"2007.4081view3","ext":"jpg","linkID":"2007.4081view3","typeDesc":"Still 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magazine.","transcript":null,"youtube":null,"tourMarker":null},{"id":1540,"mediaID":156212,"objectID":47343,"name":"http:\/\/www.ellenlanyon.com\/Works\/homage\/index.html","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"View other works in the \"Homage \u00e1 Poyet\" series.","displayDescription":"View other works in the \"Homage \u00e1 Poyet\" series.","transcript":null,"youtube":null,"tourMarker":null},{"id":1541,"mediaID":96841,"objectID":47343,"name":"2014.0060.a,b","ext":"jpg","linkID":"2014.0060.a,b","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1542,"mediaID":96842,"objectID":47343,"name":"2014.0060.adet1","ext":"jpg","linkID":"2014.0060.adet1","typeDesc":"Still 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Tour"},{"id":690,"mediaID":106307,"objectID":52773,"name":"T2015.105","ext":"jpg","linkID":"T2015.105","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":698,"mediaID":101746,"objectID":52773,"name":"T2015.105.001","ext":"mp3","linkID":"T2015.105.001","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Ear for Art","displayDescription":"Audio Tour \u2013 Ear for Art","transcript":"What does this sculpture have to do with Kansas?\r\n\r\nArtists sometimes give hints about the meaning of a work in the title. In this case, the artist, Jim Bass, called this work Prairie Formation. A resident of Topeka, Bass has explained that he was endeavoring \u201cto reconcile the visual landscape of the 20th century with the textures and forms of the Kansas landscape.\u201d He\u2019s also written that he wants to \u201cchallenge the imagination about the prairie, it\u2019s people and textures.\u201d Take a closer look at the work. Walk around it. Is there something about the color, texture or shape that reminds you of a landscape?","youtube":null,"tourMarker":"Campus Sculpture Tour"},{"id":691,"mediaID":114963,"objectID":52773,"name":"T2015.105.002","ext":"mp3","linkID":"T2015.105.002","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"What is the meaning of life? This is a question that goes through everybody's mind at some point. Are we made to go to school and live off education or to develop and raise a family and follow what evolution has been programmed into our minds? The meaning of life is glorious in the sense that you make the definition for yourself. Every individual person is unique, different, and interprets life in a separate way. This sculpture, Prairie Formation, by Jim Bass, tells the story of life and its distinct qualities. The 7 foot 2 inch, welded bronze piece is what appears to be a flower but with the outside edges seeming to be the texture of a tree. This could be interpreted many different ways but how I saw it, the sculpture was coming to be its rightful self. Many people lie to themselves on what they are or what they are to become or society fits them into their own faction at birth. But a few defy these proclamations and blossom into what they truly are. From my understanding Jim Bass is trying to convey the journey of a young flower discovering its meaning of life and becoming what they truly want to be which in this case is a tree. Even though this sounds a bit unrealistic and silly, in the real world people are coming to terms with their identity as a person and some even share their own personal stories. Some people in college have a similar story which makes the location of this statue on the campus of the University of Kansas more symbolic and meaningful. College is a time where you find the direction you want your life to go in and who you truly are. But college isn't limited to finding your meaning. I just hope at some point in time you find your purpose and the meaning of your life.  This has been Trevor Arellano with another Bulldog podcast.","youtube":null,"tourMarker":null},{"id":692,"mediaID":114964,"objectID":52773,"name":"T2015.105.003","ext":"mp3","linkID":"T2015.105.003","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"One hundred years before thousands of students traversed it on a daily basis, Mount Oread was part of a vast sea of prairie grasses. In 1981, Kansas artist Jim Bass created a bronze monument to those wild days. Influenced by cubism and his interest in the Midwest, Bass created his sculpture \u201cPrairie Formation\u201d that today is installed on the east side campus behind Fraser hall.\r\nJim Bass was born in 1933 and today works from his studios on a 40 acre farm near Topeka. Many of his themes concern the Midwest. Prairie Formation is a tall, welded, red-bronze piece approximately 7 feet high, finished in varied Earth tones, installed in a circle of grass. Bass does most of his craftsmanship in bronze, like this piece, as he feels it is a less understood medium. This abstract work appears to be a cubist interpretation of a flower, but the sides of what would be the \u201cstem\u201d resemble a bark-like surface. The overall theme of the sculpture is a variety of rough textures, and the meticulousness of this artist is thoroughly represented. \r\nAt first glance, it could be interpreted objectively as a literal prairie formation; a lone, eroded piece of rock in a badland resembling Castle Rock in Western Kansas. The bark-like texture could remind viewers of the forest at the edge of the prairie, or viewed at a distance, the sculpture could be perceived as a carving of a torch. To me, the piece is a reminder of the natural history of Mount Oread. I\u2019ve spent many afternoons walking through the last wild places of Kansas with my dad, and all those memories are uncovered by viewing this piece like a past prairie field after rain, uncovering ancient arrowheads and pottery which the Native Americans used long ago. Only a quarter mile away from the \u201cPrairie Acre,\u201d the last remnant of native prairie on campus, Prairie Formation is an abstract, artistic reminder, of the prairies past, that has since been overridden by buildings, people, and trees. Historically, the \u201cformation\u201d part of the sculpture would have been a rock edifice. Perhaps now it symbolizes what this university grew upon, and marks the grave of the mortal prairie. \r\nThis has been Chloe Frazier with another Bulldog Podcast.","youtube":null,"tourMarker":null},{"id":693,"mediaID":114965,"objectID":52773,"name":"T2015.105.004","ext":"mp3","linkID":"T2015.105.004","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"There are several things you could envision when observing Jim Bass\u2019 Prairie Formation. A tulip, a tree, a torch. This sculpture is forged out of bronze and is 7feet and 2 inches tall. The base of this sculpture is smooth and has squared edges, and reminds me of a plant, growing up from the ground. As your eyes move up the sculpture, the smoothness suddenly stops, breaking into many directions and becomes quite geometric. This piece reminds me of a human\u2019s life, with the smooth bottom represents a person\u2019s early years, while they have their parents\u2019 protection and guidance. They go through their school and young life with only a few rough edges. They then transition into adulthood, which can be messy and tangled, although it can grow into many different directions. What puzzles me about this piece, is the name. Why would Bass name this sculpture Prairie formation? Was Bass referring to an actual prairie, or is this an analogy to a deeper, more intricate image of what a prairie represents? To mankind, the prairie is a blank canvas, waiting to be painted on, presenting new opportunities and future. What they don\u2019t see is that the prairie is an ecosystem sustaining life to many insects and animals.\r\nWhen I relate myself to this sculpture, I can see that I have a clear path. I have four more years of school, and probably college, but after that, I don\u2019t know what I am going to do. I have so many things I want to do and explore, my life could go into so many different directions. Even though I don\u2019t know what direction my sculpture will go, I intend to live life to the fullest and enjoy every twist and turn. \r\nThis has been Tessa Brel with another Bulldog Podcast.","youtube":null,"tourMarker":null},{"id":694,"mediaID":114966,"objectID":52773,"name":"T2015.105.005","ext":"mp3","linkID":"T2015.105.005","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"Born in 1960, native Hawaiian Craig Dan Goseyun was not originally American-Indian but fell in love with the culture that he was exposed to while living with his mother on a reservation when his father was overseas in Vietnam. He later became a member of the San Carlos Eastern White Mountain Apache and began using his gift for art to portray his tribe's legends in the form of sculptures.\r\nThe University of Kansas purchased one of these sculptures, Water Carrier, in 1994. Goseyun said that this 8 foot, 3,000 pound, bronze vase is meant to signify the importance of water to all living creatures. Because of this, KU appropriately placed the sculpture alfresco to Spooner Hall, their then School of Anthropology.\r\nAt first glance, Water Carrier seems to be just an ordinary vase, but through further inspection of the sculpture and its history, it becomes evident that it is so much more. As you approach, the gentle slope of a water droplet carving its way down the side of the vase insinuates an unmistakable feeling of harmony. Adding to this feeling is the base\u2019s main component, red Dakota sandstone, the same material used to create Spooner Hall. Water Carrier\u2019s perfect alignment with the center of the three arches that mark the entrance to the former School of Anthropology make this already growing sense of harmony almost overwhelming. \r\nThis profound sense of peace caused me to think back to primordial times when our ancestors were one with nature and all living beings. I believe that those are the thoughts Goseyun was attempting to capture, for what better way to enter a School of Anthropology than to have your mind focused on the earliest existence of humankind?\r\nThis has been Charlie Johnson with another bulldog podcast.","youtube":null,"tourMarker":null},{"id":695,"mediaID":114967,"objectID":52773,"name":"T2015.105.006","ext":"mp3","linkID":"T2015.105.006","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"In a secluded area east of Blake Hall on the KU campus, there lies Jim Bass\u2019s vivid Prairie Formation. At first glance, your eyes immediately identify the textures displayed throughout the bronze sculpture\u2019s 7 foot, 2 inch stature. The fluidity in all respects of the sculpture is evident. The diagonal and vertical lines along the sides of the pedestal resemble the ceaseless sway of the wheatgrass in the prairie, reflecting the common interpretation of Kansas in the 19th century. Earthy hues such as sepias, oranges, and reds create depth and emphasize the tree bark surfacing on the sides of the plinth alternating with the diagonal and vertical line pattern. The abstract structure resting on the base is constructed with various three dimensional triangular pieces appearing like layers. The avant garde sculpture in its entirety is geometric, giving it a modernistic appearance. Upon completion of his welded bronze piece, Jim Bass stated he was \u201cendeavoring to reconcile the visual landscape of the 20th century with the textures and forms of the Kansas landscape.\u201d\r\nBorn in 1933, Jim Bass grew up in Kansas which immensely influenced his work that derives its imagery from prairie themes and the Midwest influence. Bass\u2019s art expands on directions charted by cubism, one of the most prominent visual art styles of the early 20th century created by Pablo Picasso and Georges Braque. Jim Bass studied at the University of Kansas under the tutelage of Bernard Fraizer and Elden C. Tefft. Following his graduation in 1955, Jim Bass studied under Rudolfo Gonzales in Guanajato, Mexico on archaic methods of bronze casting. He developed his own bronze foundry and operates a studio outside Topeka, Kansas. By using a particular alloy, nickel-bronze, which contains copper, the surface of his sculptures erode and bring out earth tones widely recognized in his artworks. Jim Bass has public works on display in scores of towns in Kansas, Nebraska, Wisconsin, Iowa, Missouri, and Minnesota. \r\nI believe that Jim Bass\u2019s Prairie Formation symbolizes Kansas and the Midwest with its unique structure and textures. But perhaps, it can be represented as humans and their distinctive habits and traits. The structure of the sculpture depicts our transformation and how we are always evolving. As human beings, there are parts of us that remain the same. However, we will always advance and strive to improve ourselves. Because I come from an Asian heritage, it is a never-ending battle between my native culture and my adoptive American culture. But we must always remember the tree bark and wheatgrass of the prairie within us that define who we are, even if we\u2019re a work in progress. This has been Anna Peard with another bulldog podcast.","youtube":null,"tourMarker":null},{"id":696,"mediaID":114968,"objectID":52773,"name":"T2015.105.007","ext":"mp3","linkID":"T2015.105.007","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"At first glance, the sculpture, Prairie Formation, doesn\u2019t look like anything remarkable. It just looks like pieces of bronze that have been welded together to form some sort of irregular shape. However, if you take a closer look at this sculpture, you will find some interesting things on its surface.\r\nThe sculpture, made out of welded bronze, starts out simple at the base, with only two main textures visible, and the shape is not too odd or complex. As the sculpture gets taller, however, there are more shapes that are more complex and dynamic than the shape of the base. There are now multiple textures on the sculpture near the top.\r\nPrairie Formation was created by Jim Bass, born 1933. It was donated to KU on May 2nd, 1981 by the Pi Deuteron chapter of Phi Gamma Delta to commemorate their centennial.\r\nJim Bass states that when he was making this piece of art, he was aiming to \u201creconcile the visual landscape of the 20th century with the textures and forms of the Kansas landscape\u201d. \r\nWhat exactly does this quote mean?\r\nI think that this sculpture represents the simplicity of the plains and how humans have changed it and made it more complex in its form. It represents how the plains - and the human species - have started out simple, and as the years go by, they slowly become more diverse and fascinating, yet they never truly change from what they originally were. The abstract and simple design of this sculpture is how it truly conveys its meaning to the viewer.\r\nThe Great Plains today look much more different than what they would have looked like millions of years ago, before humans came to this region. Animals roamed freely across wild and grassy plains. Now, there\u2019s cities, towns and farms across the state, large buildings and modern technology. \r\nAs the years progress, we as a species are moving forwards - and thus are striving to move forward as much as possible - in settlement and technology. Progression and evolution is natural and is something the human species wants. Therefore, we cannot suppress that urge, and so must move forwards for the good of our species.\r\nHowever, sometimes, we forget about the natural environment around us when building and progressing. We can\u2019t mindlessly progress and casually ignore the other species on this planet, whose habitats we may be destroying. Ecosystems cannot work without every part, and if we eliminate one such part, the rest will come down. I believe that this sculpture is a reminder that we should be mindful of the natural environment around us as we try to advance forwards.\r\nWhen the human species moves forwards in attempts to improve, we must remember that other species exist on this planet, and find the best balance of nature and technology to survive.\r\n\tThis has been Laura with another Bulldog Podcast.","youtube":null,"tourMarker":null},{"id":2135,"mediaID":155924,"objectID":61926,"name":"2021.0072","ext":"jpg","linkID":"2021.0072","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":923,"mediaID":8980,"objectID":5736,"name":"1928.3462","ext":"jpg","linkID":"1928.3462","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":86,"mediaID":13060,"objectID":5522,"name":"1928.3210","ext":"jpg","linkID":"1928.3210","typeDesc":"Still 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I\u2019m David Cateforis with another Art Minute from the Spencer Museum of Art. Genoa is not well-known as a center of Renaissance art, but during the fifteenth and sixteenth centuries this maritime republic was home to a prominent sculptural relief type that decorated doorways. These soprapporte - rectangular overdoor lintel sculptures - helped to define the cityscape, marking the transitional space between public street and private interior. Many soprapporte depict Saint John the Baptist, whom the Genoese considered a guardian of their city. He is the central subject of a soprapporta in the Spencer collection. Attributed to Domenico Gagini, it is the earliest known of the approximately sixty surviving soppraporte. Wearing his signature garment, a hairshirt, St. John occupies the center of the marble relief, holding the lamb of God, flanked by angels, and surrounded by trees and a rocky ground that spills over the edge of the panel. The carefully rendered details of figures and environment are still well preserved, suggesting that the sculpture was likely placed over an interior doorway protected from harsh sea winds. With thanks to Madeline Rislow for her text, from the Spencer Museum of Art, I\u2019m David Cateforis.","youtube":null,"tourMarker":null},{"id":2204,"mediaID":35741,"objectID":10161,"name":"1960.0057","ext":"jpg","linkID":"1960.0057","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2205,"mediaID":35742,"objectID":10161,"name":"1960.0057view2","ext":"jpg","linkID":"1960.0057view2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":342,"mediaID":13568,"objectID":20485,"name":"1999.0158","ext":"jpg","linkID":"1999.0158","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":343,"mediaID":13569,"objectID":20485,"name":"1999.0158view2","ext":"jpg","linkID":"1999.0158view2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1752,"mediaID":34214,"objectID":7634,"name":"1929.0017","ext":"jpg","linkID":"1929.0017","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1753,"mediaID":34215,"objectID":7634,"name":"1929.0017view2","ext":"jpg","linkID":"1929.0017view2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1754,"mediaID":34216,"objectID":7634,"name":"1929.0017view3","ext":"jpg","linkID":"1929.0017view3","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":270,"mediaID":134504,"objectID":14210,"name":"https:\/\/goo.gl\/maps\/yHZTRrRNLwk","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"SEE directions to this sculpture by tapping number 15 on this map","displayDescription":"SEE directions to this sculpture by tapping number 15 on this map","transcript":null,"youtube":null,"tourMarker":"Campus Sculpture Tour"},{"id":263,"mediaID":94938,"objectID":14210,"name":"1981.0005","ext":"jpg","linkID":"1981.0005","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":269,"mediaID":101731,"objectID":14210,"name":"1981.0005.001","ext":"mp3","linkID":"1981.0005.001","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Ear for Art","displayDescription":"Audio Tour \u2013 Ear for Art","transcript":"Is this work an outcast?\r\nActually, yes. Here\u2019s the story: Mr. and Mrs. John Simpson originally commissioned the work for a seven-acre site near their home in Salina, Kansas. Twelve years later, they donated the work to the Spencer Museum of Art, and, originally there were plans to install it in the grassy triangle of land at 16th and Indiana, on the south side of campus. However, it was moved to its present location when area residents raised safety concerns about placing it in a residential neighborhood. \r\n\r\nWalk around the work. Look at it from several locations. Would it surprise you to learn that the artist was interested in architecture and astronomy? Like a building, our experience of the work changes with the time of day and season. In bright light, the piece is defined by shadows, whereas at dusk the supports for the structure seem to disappear, creating the illusion of defying gravity. 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One of the most important artists of the 20th century, Nevelson completed this work in her seventh decade when she started working with cut aluminum. Her earlier works were constructions of found objects in wood. Gardens usually contain soft, colorful plants. But, in this case the shapes are metal and black.","youtube":null,"tourMarker":"Campus Sculpture Tour"},{"id":2210,"mediaID":49079,"objectID":15007,"name":"1983.0028.002","ext":"mp3","linkID":"1983.0028.002","typeDesc":"Sound Recording","description":"Didactic \u2013 Art Minute","displayDescription":"Didactic \u2013 Art Minute","transcript":"Episode 31\r\nJun-2005, Joanna Sternberg, Prints and Drawings Intern\r\nI\u2019m David Cateforis with another art minute from the Spencer Museum of Art. For many, the idea of a garden evokes visions of colorful flowers or rows of herbs and vegetables. These products of the earth are fragile and impermanent. But what about a garden made from welded metal? Louise Nevelson\u2019s \u201cSeventh Decade Garden,\u201d located on the northeast side of the Spencer, is a sculpture that challenges our usual notions of the organic world and the transience of nature. One of the major American sculptors of the twentieth century, Nevelson made sculptures out of wood, metal, and other materials, by assembling dozens or even hundreds of disparate elements that she unified with a single color - usually black, white or gold. Completed in 1970, Nevelson\u2019s \u201cSeventh Decade Garden\u201d is composed of flat sheets of black-painted aluminum cut in arching and angular shapes that rise from a solid geometric base and diverge into two dark towering configurations, like abstract plant forms. The sculpture, which Nevelson created in her seventies, is a fine example of the many monochromatic works in metal she completed during the final decades of her career. With thanks to Joanna Sternberg for her text, from the Spencer Museum of Art, I\u2019m David Cateforis.","youtube":null,"tourMarker":null},{"id":2211,"mediaID":114942,"objectID":15007,"name":"1983.0028.003","ext":"mp3","linkID":"1983.0028.003","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"Located in front of the Spencer Museum of Art, surrounded by a serene atmosphere of gray pavement and rock, Seventh Decade Garden by Louise Nevelson is a breathtaking aluminum sculpture positioned on two beige colored plinths. The piece itself is constructed with flat, black pieces of aluminum arranged to resemble two flowers in a garden. At first sight, it seems as if there are two abstract configurations of a flower, but through close observation, you realize that that the two structures are precisely the same. They are built up with the same organic shapes of aluminum located in the exact same position. The only difference is that one is elevated by a larger pedestal and oriented at a 45 degree angle. This characteristic creates an area of negative space in the center which guides the viewer around the entirety of the piece. With irregular, yet congruent aluminum shapes, Seventh Decade Garden is a profound structure. \r\nLouise Nevelson, the artist who created this piece, was a Russian-American sculptor widely known for her monumental, monochromatic wall pieces and outdoor sculptures. The majority of her pieces can be recognized due to their trademark style of being painted monochromatically. As a student, she was taught to practice art with a limited palette, using colors like black, to \u2018discipline\u2019 herself. She would go on to describe the color black as a total color. Furthermore, Nevelson played a crucial role in the feminist art movement. Credited with examining femininity in art, Nevelson challenged what traditionally was thought to be a woman\u2019s place in the field of art. Deliberately, she chose to create works that were dark, masculine, and colossal. She had a strong belief that art and sculptures should not be judged by the gender of the creator, but by the perception of each individual. \r\nAll this insight into Nevelson\u2019s life and her principles allows us to better understand her sculptures, especially the Seventh Decade Garden. She developed it when she was in her seventies, hence the name. The use of irregular shapes follows Nevelson\u2019s art style of breaking barriers and becoming a favorite among art enthusiasts and collectors. I believe the two configurations symbolize the various notions and designs proposed by generations of conceptual artists, and the negative space in the center represents the Feminist Art Movement, a component of American Art History that shaped future generations. The sculpture itself resembles two flowers which are subjects that one may recall as being soft, colorful, and weak, yet the sculpture relays an entirely contrasting idea. With compelling, abstract parts and pieces, the art portrays the talent, courage, and strength of women. The piece opposes traditional, orthodox views and emphasizes acceptance and tolerability. The sculpture can even apply to the 21st century, as gender based, and even race and religious discrimination is widely present. The piece is yet another example of how thought-provoking messages can be conveyed through sculptures. This has been Sivani Badrivenkata with another Bulldog Podcast.","youtube":null,"tourMarker":null},{"id":2212,"mediaID":114943,"objectID":15007,"name":"1983.0028.004","ext":"mp3","linkID":"1983.0028.004","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"A garden. Flowers in neat rows, perfectly trimmed shrubbery, an array of vegetation bursting with color, but also fading over time. Now think of another version. A tall new garden constructed from welded metal, lasting with little to no change no matter the lapse of time surrounding it. Louise Nevelson\u2019s Seventh Decade Garden is exactly this. It contrasts and challenges the stereotypical view of the natural world. The Seventh Decade Garden, located on the Northeast side of the Spencer Museum of Art, consists of two structures of thin, curving sheets of aluminum painted black simulating non-organic plantlike structures strategically placed next to each other on the top of a sandstone base to grant it height, forcing viewers to look up at the stunning structure.\r\nLouise Nevelson, who created the Seventh Decade Garden when she was 70 (hence the name), was very influential in her art and she played a fundamental role in the feminist art movement. She traveled outside the small box most female artists were confined to during her time and created large, towering artworks. She created her sculptures this way to emphasize the point that she was going to be an artist. Not a female artist, not a male artist, but an artist. The Seventh Decade Garden is an excellent example of Nevelson\u2019s sculptures which typically consists of large curvaceous shapes tied together with a solid color, usually white, gold, or black. She described the darkest and her most used of these, black, as \u201ctotal color.\u201d once saying \u201c\u200e...I fell in love with black, it contained all color. It wasn\u2019t a negation of color. It was an acceptance. Because black encompasses all colors... You can be quiet and it contains the whole thing.\"\r\nOf course the Seventh Decade Garden is painted black, displaying the acceptance of colors within it. I believe Nevelson did not create some colorful friendly piece since she was conveying all of the colors in a typical garden within the monochromatic black and that she was further emphasizing her point of feminism within her art, intentionally forcing any spectators to look up at the large construction, unlike what female artists often made during her time. Though, one could still look deeper into this piece. Personally, I was drawn to it by its complexity and how intricate it appeared. Upon further examination, I discovered that the two formations that tied together to create the beautiful garden, were exactly the same. Two identical pieces to one abstract puzzle. There was however also a notable empty space between the two to give the art a feel that it really is two different pieces. I interpreted that this was to show that the parts parallel us. We come together as similar individuals and share what sets us apart from others to make something beautiful. Yet its beauty alone does not mean these things last. This piece could be telling us to make sure that whatever we do, we continue doing it and not to flake on our passions. Remember, Nevelson did not simply create a flimsy garden that will fall apart in a year or so, but a strong metal monument to individuality that will last for decades. The Seventh Decade Garden is a stunning display of Nevelson\u2019s talent in creating abstract, but extremely meaningful artwork that accurately portrays many issues and ideas that still hold strong today. This has been Ian Haas with another Bulldog Podcast.","youtube":null,"tourMarker":null},{"id":2213,"mediaID":114944,"objectID":15007,"name":"1983.0028.005","ext":"mp3","linkID":"1983.0028.005","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"The Seventh Decade Garden was engendered in 1971, depicts a garden, though not  one typically imagined. In her later years, Louise Nevelson preferred working with aluminum, the material used with The Seventh Decade Garden. The use of aluminum made the piece appear dark in color and jagged in texture, both qualities not typical of a real garden. \r\nSome make assumptions about the piece\u2019s meaning based on occurrences in Nevelson\u2019s life, such as her involvement in the feminist art movement, or her migration from Russia to the United States. Louise Nevelson was born on September 23, 1899 as Leah Berliawsky in Persilav, Poltava Governorate in the Russian Empire. She migrated to the United States with her family in 1905, where she went to live in Rockland, Maine. As a young woman, she gained interest in art, and it became most of what she did in her time at school and at home. Eventually she married Bernard Nevelson, with whom she moved to New York City. During her time in New York, she began to make art her main focus. After her divorce, Louise became fully engaged in arts, specifically the feminist art movement. In New York, Nevelson created a name for herself as one of the greatest sculptors of the century. This piece was designed in Nevelson\u2019s seventh decade, when she began using aluminum. \r\nI personally very much enjoyed this piece due to its shadowy and rough nature, and the industrial feel it brings. I feel like it represents what our world has become, something organic and flowing while at the same time being uniform, metallic, and industrial. Nevelson\u2019s reason for creating this piece is unknown, though I have a theory of my own for what this piece means. \r\nI believe that the contrast within this piece represents the contrast of her life in Russia, and her life in the states. Coming from an agrarian Russian society, Nevelson was introduced to an urban, industrial society at an early age. The two societies in which she lived existed in stark contrast to each other. The new world that she came to wasn\u2019t the same \u201cgarden\u201d that she had come from, as one was based on agriculture and one based on industry. \r\nTo me, society is an organism, made of many different parts, and both of these societies existed with different kinds of organs within them. The Seventh Decade Garden displays a syncretism of the two societies, the \u201cgarden\u201d representing a Russian agrarian society, and the shadowy colors along with the metallic build represents an industrial New England society. Another reason for the use of aluminum was to present how much the world has changed in her seven decades. The sloping sheets of aluminum stand upon sandstone plinths, making one of the structures appear taller than the other. In truth, the structures are identical. \r\nAluminum was an uncommon, valuable material in Nevelson\u2019s youth. By her seventh decade, aluminum was a common material that was easy to get ahold of. Nevelson\u2019s use of aluminum in this piece proves all of the change she had witnessed in her time, first a change in scenery, next a change in society.\r\nThis has been Keaton Hoy with another Bulldog Podcast.","youtube":null,"tourMarker":null},{"id":2209,"mediaID":27413,"objectID":15007,"name":"1983.0028view006","ext":"jpg","linkID":"1983.0028view006","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":209,"mediaID":151727,"objectID":10687,"name":"1968.0040","ext":"jpg","linkID":"1968.0040","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2198,"mediaID":158319,"objectID":10040,"name":"https:\/\/www.museumnext.com\/article\/serbias-national-museum-shrine-to-the-nation-or-something-more\/","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"Learn more about Ivan Me\u0161trovic\u2019s Vidovdan 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protest.","transcript":null,"youtube":null,"tourMarker":null},{"id":1207,"mediaID":72311,"objectID":18162,"name":"1993.0033","ext":"mp3","linkID":"1993.0033","typeDesc":"Sound Recording","description":"Didactic \u2013 Art Minute","displayDescription":"Didactic \u2013 Art Minute","transcript":"Episode 264\r\nDec-2008, revised Jun-2012, Ellen Raimond\r\n(revision of Episode 171)\r\nI\u2019m David Cateforis with another Art Minute from the Spencer Museum of Art. Contemporary American ceramist Richard Notkin, creates teapots inspired by the 500-year-old tradition of Chinese Yixing [pronounced \u201cee-shing\u201d] pottery. But he takes our positive associations with drinking tea-calming, soothing, and relaxing-and unceremoniously pours them out. Notkin\u2019s 1991, Skull Teapot, Variation #17 is built from a seeming mishmash of objects rendered with consummate craftsmanship in clay: a squat grinning death\u2019s head for its body; stacked dice for its handle; and a lightning bolt for its spout. The teapot\u2019s lid takes the form of the mushroom cloud of an atomic bomb blast. Skull, dice, and mushroom cloud serve over and over as grim features of the teapots that Notkin calls a \u201cplea for sanity\u201d. Intentionally political, Notkin's works serve as powerful reminders of our precarious position in today\u2019s volatile world. Skull Teapot, Variation #17, is currently on view alongside traditional Asian ceramics in the Asia gallery. With thanks to Ellen Raimond for her text, from the Spencer Museum of Art, I\u2019m David Cateforis.","youtube":null,"tourMarker":null},{"id":1208,"mediaID":9014,"objectID":18162,"name":"1993.0033","ext":"jpg","linkID":"1993.0033","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1637,"mediaID":151640,"objectID":62262,"name":"2002.0121.p","ext":"jpg","linkID":"2002.0121.p","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":853,"mediaID":159181,"objectID":62373,"name":"2021.0168","ext":"jpg","linkID":"2021.0168","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":854,"mediaID":159182,"objectID":62373,"name":"2021.0168det001","ext":"jpg","linkID":"2021.0168det001","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":55,"mediaID":10894,"objectID":4379,"name":"1928.1847","ext":"jpg","linkID":"1928.1847","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":54,"mediaID":127647,"objectID":4379,"name":"1928.1847collateral001","ext":"jpg","linkID":"1928.1847collateral001","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":56,"mediaID":10895,"objectID":4379,"name":"1928.1847view2","ext":"jpg","linkID":"1928.1847view2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":819,"mediaID":159161,"objectID":5162,"name":"1928.2745","ext":"jpg","linkID":"1928.2745","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":282,"mediaID":13399,"objectID":14762,"name":"1982.0232","ext":"jpg","linkID":"1982.0232","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":824,"mediaID":159163,"objectID":14775,"name":"1982.0245","ext":"jpg","linkID":"1982.0245","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1161,"mediaID":69197,"objectID":14312,"name":"1981.0104","ext":"jpg","linkID":"1981.0104","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1163,"mediaID":49071,"objectID":14313,"name":"1981.0105","ext":"mp3","linkID":"1981.0105","typeDesc":"Sound Recording","description":"Didactic \u2013 Art Minute","displayDescription":"Didactic \u2013 Art Minute","transcript":"Episode 85. I\u2019m David Cateforis with another art minute from the Spencer Museum of Art. Fire, warmth, friendship: all are expressed in \u201cSoul of the Sunflower,\u201d a cast-iron fireback created by the American artist Elihu Vedder in 1882. Vedder made this work in response to a visionary poem by William Blake, which begins: \u201cAh, Sunflower, weary of time, who countest the steps of the sun; Seeking after that sweet golden clime\u2026.\u201d Vedder\u2019s interpretation features a spiraling array of wavy locks and sunbeams around a serenely beautiful female face. Vedder designed four firebacks, which were panels used to line fireplaces. In each one, he envisioned a living face, inspired by memories of lost or absent friends. Perhaps he was imagining such noteworthy friends as Walt Whitman, Herman Melville, or Louis Comfort Tiffany, or even a lost love. Born in New York, Vedder spent most of his career abroad, primarily in Italy. His refined style is related to the Aesthetic Movement, which promoted the creation of objects that were both beautiful and practical. The Spencer fireback is an excellent example of this late-nineteenth-century trend. 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Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":null,"youtube":null,"tourMarker":null},{"id":1071,"mediaID":143668,"objectID":10152,"name":"1960.0048.002","ext":"mp3","linkID":"1960.0048.002","typeDesc":"Sound Recording","description":"Listen to core object information.","displayDescription":"Listen to core object information.","transcript":null,"youtube":null,"tourMarker":"Altered Perspectives"},{"id":1072,"mediaID":143669,"objectID":10152,"name":"1960.0048.003","ext":"mp3","linkID":"1960.0048.003","typeDesc":"Sound Recording","description":"Listen to Audio Description","displayDescription":"Listen to Audio Description","transcript":null,"youtube":null,"tourMarker":"Altered Perspectives"},{"id":1065,"mediaID":143363,"objectID":10152,"name":"1960.0048det001","ext":"jpg","linkID":"1960.0048det001","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1066,"mediaID":143364,"objectID":10152,"name":"1960.0048det002","ext":"jpg","linkID":"1960.0048det002","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1067,"mediaID":143365,"objectID":10152,"name":"1960.0048det003","ext":"jpg","linkID":"1960.0048det003","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1068,"mediaID":143366,"objectID":10152,"name":"1960.0048det004","ext":"jpg","linkID":"1960.0048det004","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1069,"mediaID":143367,"objectID":10152,"name":"1960.0048det005","ext":"jpg","linkID":"1960.0048det005","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1070,"mediaID":143368,"objectID":10152,"name":"1960.0048det006","ext":"jpg","linkID":"1960.0048det006","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1064,"mediaID":143362,"objectID":10152,"name":"1960.0048view003","ext":"jpg","linkID":"1960.0048view003","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1074,"mediaID":73484,"objectID":10152,"name":"1960.0048view2","ext":"jpg","linkID":"1960.0048view2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1884,"mediaID":153233,"objectID":9953,"name":"https:\/\/www.youtube.com\/watch?v=_x684_mkhLA","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"Hear a recording of the Ballad of the Jealous Lover.","displayDescription":"Hear a recording of the Ballad of the Jealous Lover.","transcript":null,"youtube":null,"tourMarker":null},{"id":1887,"mediaID":125345,"objectID":9953,"name":"https:\/\/www.youtube.com\/watch?v=Xwej9XsBmC4","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"Listen to \"The Jealous Lover of Lone Green Valley\"","displayDescription":"Listen to \"The Jealous Lover of Lone Green Valley\"","transcript":null,"youtube":null,"tourMarker":"Spencer Selections (with audio descriptions)"},{"id":1886,"mediaID":129480,"objectID":9953,"name":"https:\/\/youtu.be\/bwXTHN7AeV0","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"Watch \u201cThomas Hart Benton | Arts Upload\u201d from KCPT (7:58)","displayDescription":"Watch \u201cThomas Hart Benton | Arts Upload\u201d from KCPT (7:58)","transcript":null,"youtube":null,"tourMarker":"Spencer Selections (with audio descriptions)"},{"id":1883,"mediaID":686,"objectID":9953,"name":"1958.0055","ext":"jpg","linkID":"1958.0055","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1876,"mediaID":98355,"objectID":9953,"name":"1958.0055.001","ext":"mp3","linkID":"1958.0055.001","typeDesc":"Sound Recording","description":"Ear for Art Audio Tour","displayDescription":"Ear for Art Audio Tour","transcript":"Why don\u2019t the musicians notice the murder taking place? This painting by Missouri artist Thomas Hart Benton is based on a traditional Ozark folk song called \u201cThe Ballad of the Jealous Lover of Lone Green Valley.\u201d In the painting, the words of the song come to life behind the musicians.","youtube":null,"tourMarker":null},{"id":1885,"mediaID":49054,"objectID":9953,"name":"1958.0055.002","ext":"mp3","linkID":"1958.0055.002","typeDesc":"Sound Recording","description":"Art Minute with David Cateforis","displayDescription":"Art Minute with David Cateforis","transcript":"Episode 21. I\u2019m David Cateforis, with another Art Minute from the Spencer Museum of Art. There\u2019s a murder in progress in the museum! Relax! It occurs in a painting. Your eyes are drawn to the two central figures set in a moonlit rural landscape. A woman looks up in surprise as she clutches her blood-soaked chest. A man hovers over her, his face contorted with hatred, grasping a bloody knife in his oversized hand. In contrast to this violent scene is a trio of somber country musicians in the lower right hand corner. Connecting the two scenes are swirling bands of color containing musical notes, which indicate that the murder is the subject of the song. Swirling, rhythmic lines are a stylistic hallmark of Thomas Hart Benton, who painted this picture in 1934. Benton, a Regionalist artist from Neosho, Missouri, painted what he knew best: rural midwestern life. Here he illustrates The Ballad of the Jealous Lover of Lone Green Valley, a traditional Ozark folksong. In the ballad, a man stabs his lover in a jealous rage only to discover too late that he doubted her unjustly. Benton\u2019s evocative painting captures the essence of that tragic song. With thanks to Nancy Hernandez for her text, from the Spencer Museum of Art, I\u2019m David Cateforis.","youtube":null,"tourMarker":null},{"id":1871,"mediaID":119726,"objectID":9953,"name":"1958.0055.003","ext":"mp3","linkID":"1958.0055.003","typeDesc":"Sound Recording","description":"Bulldog Art Tour 2009: Adam Fales","displayDescription":"Bulldog Art Tour 2009: Adam Fales","transcript":null,"youtube":null,"tourMarker":null},{"id":1880,"mediaID":119880,"objectID":9953,"name":"1958.0055.004","ext":"mp3","linkID":"1958.0055.004","typeDesc":"Sound Recording","description":"Bulldog Art Tour 2012: Tom Riggs","displayDescription":"Bulldog Art Tour 2012: Tom Riggs","transcript":null,"youtube":null,"tourMarker":null},{"id":1878,"mediaID":119924,"objectID":9953,"name":"1958.0055.005","ext":"mp3","linkID":"1958.0055.005","typeDesc":"Sound Recording","description":"Bulldog Art Tour 2014: John Ely","displayDescription":"Bulldog Art Tour 2014: John Ely","transcript":null,"youtube":null,"tourMarker":null},{"id":1879,"mediaID":119925,"objectID":9953,"name":"1958.0055.006","ext":"mp3","linkID":"1958.0055.006","typeDesc":"Sound Recording","description":"Bulldog Art Tour 2014: Toshita Barve","displayDescription":"Bulldog Art Tour 2014: Toshita Barve","transcript":null,"youtube":null,"tourMarker":null},{"id":1882,"mediaID":119981,"objectID":9953,"name":"1958.0055.007","ext":"mp3","linkID":"1958.0055.007","typeDesc":"Sound Recording","description":"Bulldog Art Tour 2015: Rose Pilakowski","displayDescription":"Bulldog Art Tour 2015: Rose Pilakowski","transcript":null,"youtube":null,"tourMarker":null},{"id":1881,"mediaID":121977,"objectID":9953,"name":"1958.0055.008","ext":"mp3","linkID":"1958.0055.008","typeDesc":"Sound Recording","description":"Bulldog Art Tour 2017: Johstono\/Jack Morse","displayDescription":"Bulldog Art Tour 2017: Johstono\/Jack Morse","transcript":null,"youtube":null,"tourMarker":null},{"id":1872,"mediaID":136282,"objectID":9953,"name":"1958.0055.009","ext":"mp3","linkID":"1958.0055.009","typeDesc":"Sound Recording","description":"Listen to core object information.","displayDescription":"Listen to core object information.","transcript":"The artist is Thomas Hart Benton, born 1889 in Neosho, Missouri, died 1975 in Kansas City, Missouri. \r\n\r\nThe title of this work is The Ballad of the Jealous Lover of Lone Green Valley, created in 1934 in the United States.\r\n\r\nThe work is made with oil and tempera paint on canvas, mounted on aluminum panel.","youtube":null,"tourMarker":"Spencer Selections (with audio descriptions)"},{"id":1873,"mediaID":136283,"objectID":9953,"name":"1958.0055.010","ext":"mp3","linkID":"1958.0055.010","typeDesc":"Sound Recording","description":"Listen to Audio Description","displayDescription":"Listen to Audio Description","transcript":"Ballad of the Jealous Lover of Lone Green Valley is a painting with five figures depicted in a swirling, fluid style. In the center, a woman reclines on a hillside clutching her bloody chest and looking up at a shadowy man who stands over her holding a knife dripping with blood. She wears a knee-length pink dress and is barefoot. The man wears a black-brimmed hat, a red shirt, and blue jeans. Between them, the moon rises just above the horizon. An ivory whirl of musical notes leads from behind the woman past a cow and haystack to the three figures in the extreme lower right foreground. Three men sit at a table playing music, removed and oblivious to the scene behind them. One, at left, with blonde hair and a brown vest holds his hands to his mouth playing a mouth harp. The center figure wears a hat and plays a fiddle, looking out toward us standing in front of the painting. The third musician holds a harmonica in his hand resting on the table. His mouth is open slightly as if he is singing. The landscape fills the rest of the canvas, whirling up from the lower left, past the central couple, and over a hillside reminiscent of the Ozark Mountains where the artist Thomas Hart Benton is from. In the upper left a tree trunk frames a small house with a porch and a nearby outhouse.","youtube":null,"tourMarker":"Spencer Selections (with audio descriptions)"},{"id":1874,"mediaID":136284,"objectID":9953,"name":"1958.0055.011","ext":"mp3","linkID":"1958.0055.011","typeDesc":"Sound Recording","description":"Listen to Label Text","displayDescription":"Listen to Label Text","transcript":"Down on her knees before him,\r\n\r\nShe humbly begged for life,\r\n\r\nBut into her snowy bosom,\r\n\r\nHe plunged the fatal knife.\r\n\r\n\u201cOh, Edward, I forgive you,\r\n\r\nAlthough this be my last breath.\r\n\r\nFor I never have deceived you,\u201d\r\n\r\nThen she closed her eyes in death.\r\n\r\n\u2014Excerpt from the ballad\r\n\r\nIn Ballad of the Jealous Lover, musicians bring to life a folk song of violence and betrayal, suggesting the power of folk music and vernacular storytelling in the American imagination. In the ballad, Edward stabs his lover in a jealous rage only to discover too late that he has doubted her unjustly.\r\n\r\nBenton, along with Grant Wood from Iowa and John Steuart Curry from Kansas became known as Regionalist artists, producing imagery that was typically Midwestern in subject, but archetypically American in content. Benton observed and mythologized the heroes, outlaws, tragedies, and traditions of American folk life, finding universal themes in local culture. His interests can be appreciated as part of a national phenomenon that took place amidst the crisis of the Great Depression, when many sought out a usable interpretation of America\u2019s past. This resurgent interest in American history and folklore provided assurance that the nation possessed the ability to rebound from tragedy. Benton argued that Regionalist art \u201csymbolized aesthetically what the majority of Americans had in mind\u2014America itself.\u201d","youtube":null,"tourMarker":"Spencer Selections (with audio descriptions)"},{"id":1875,"mediaID":136285,"objectID":9953,"name":"1958.0055.012","ext":"mp3","linkID":"1958.0055.012","typeDesc":"Sound Recording","description":"Listen to App Text","displayDescription":"Listen to App Text","transcript":"You are now in the exhibition This Land, which focuses on the power and grandeur of American art. \r\n\r\nFirst, listen to a recording of the song \u201cThe Ballad of the Jealous Lover of Lone Green Valley\u201d as you look at the painting. (Tap the Web icon). How does the artist make the song visible?\r\n\r\nDown on her knees before him,\r\n\r\nShe humbly begged for life,\r\n\r\nBut into her snowy bosom,\r\n\r\nHe plunged the fatal knife.\r\n\r\n\u201cOh, Edward, I forgive you,\r\n\r\nAlthough this be my last breath.\r\n\r\nFor I never have deceived you,\u201d\r\n\r\nThen she closed her eyes in death.\r\n\r\n\r\n\r\nThomas Hart Benton was part of an art movement beginning in the 1920s in which artists developed a fundamental American artistic style known as Regionalism. Benton often fused historical and mythological characters into one scene. For example, in this painting Benton blends the fictional characters of the song connected to the historical musicians with a swirl of musical notes.","youtube":null,"tourMarker":"Spencer Selections (with audio descriptions)"},{"id":1877,"mediaID":143100,"objectID":9953,"name":"1958.0055.013","ext":"mp3","linkID":"1958.0055.013","typeDesc":"Sound Recording","description":"Hear a SWMS student's perspective.","displayDescription":"Hear a SWMS student's perspective.","transcript":null,"youtube":null,"tourMarker":"Bulldog Art Tour"},{"id":1035,"mediaID":63912,"objectID":9713,"name":"1955.0083","ext":"jpg","linkID":"1955.0083","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1036,"mediaID":63913,"objectID":9713,"name":"1955.0083view2","ext":"jpg","linkID":"1955.0083view2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1127,"mediaID":156230,"objectID":13140,"name":"https:\/\/www.youtube.com\/watch?v=YTfsLnCnJd8&ab_channel=AncientLiteratureDude","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"Hear a reading of Edgar Allan Poe\u2019s poem \u201cThe Conqueror Worm.\u201d","displayDescription":"Hear a reading of Edgar Allan Poe\u2019s poem \u201cThe Conqueror Worm.\u201d","transcript":null,"youtube":null,"tourMarker":null},{"id":1130,"mediaID":95497,"objectID":13140,"name":"1979.0154","ext":"jpg","linkID":"1979.0154","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1129,"mediaID":119901,"objectID":13140,"name":"1979.0154.001","ext":"mp3","linkID":"1979.0154.001","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"This painting is about a giant red worm eating people in Hell. Or is it? At first glance, that sure appears to be what it looks like. However, as you look closer, you notice more and more details. The angels, fleeing in terror from the carnage. The small, twisted trees, growing out of the cracked rocks. The moon\u2014or is it the sun?\u2014obscured partially by clouds, setting or rising in the background. As you take in everything around the worm, you begin to forget that the worm itself is there. Is this a side effect of Claude Buck\u2019s vivid painting style? Or was it, in fact, what was intended?\r\nClaude Buck, born 1890 in the Bronx, New York, was an artist best known for his hyper-realistic paintings. He began painting at the age of four, taught by his father, William Robert Buck. When he was fourteen years old, he started studies at the National Academy of Design and stayed there until he was twenty-two. After graduating, he studied in Munich, Germany for seven years before moving to Chicago. There he became a leader of an Avant-Garde Symbolist group known as the Introspectives. His work was often influenced by writers such as Edgar Allen Poe and William Blake, as well as Classical Mythology. The hyper-realistic portraits and still-lives for which he is best known were created to support himself and his family. He died at age 84 in Santa Cruz, California.\r\nThe Conqueror Worm is based on a poem of the same name by Edgar Allan Poe. This poem describes a scene very similar to that of the painting\u2014humans being devoured by a gigantic, red worm in a hellish world. I feel like this painting is meant to make you feel a sense of desolation and terror, which is evidenced by the dark colors, bleak landscape, and swirling clouds. You may feel scared for the faceless mass of people being slaughtered and eaten by the worm. Or maybe you feel helpless, like one of the angels who run away from the terrible scene. You may even feel happy, as though you are the worm itself enjoying a nice, normal meal of tortured souls from the pits of hell. As you can see, each of the \u201cmain\u201d characters in this picture has a different perspective of the events and thus feels differently about them. The humans are not necessarily innocent here\u2014maybe they angered the worm earlier. Maybe the angels are running to get more food for the monster. Maybe the worm is dying, and in its death inadvertently killing everyone. Though it is possible to guess the artist\u2019s intentions, we can never know for sure exactly what he meant by this piece.","youtube":null,"tourMarker":null},{"id":1128,"mediaID":119927,"objectID":13140,"name":"1979.0154.002","ext":"mp3","linkID":"1979.0154.002","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":null,"youtube":null,"tourMarker":null},{"id":1131,"mediaID":95498,"objectID":13140,"name":"1979.0154det1","ext":"jpg","linkID":"1979.0154det1","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1132,"mediaID":95499,"objectID":13140,"name":"1979.0154det2","ext":"jpg","linkID":"1979.0154det2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1133,"mediaID":95500,"objectID":13140,"name":"1979.0154det3","ext":"jpg","linkID":"1979.0154det3","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1134,"mediaID":95501,"objectID":13140,"name":"1979.0154det4","ext":"jpg","linkID":"1979.0154det4","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1135,"mediaID":95502,"objectID":13140,"name":"1979.0154det5","ext":"jpg","linkID":"1979.0154det5","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1136,"mediaID":95503,"objectID":13140,"name":"1979.0154view2","ext":"jpg","linkID":"1979.0154view2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1927,"mediaID":158251,"objectID":16823,"name":"https:\/\/www.pbs.org\/independentlens\/blog\/a-flood-of-myths-and-stories\/","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"Read stories about ancient floods from different cultures.","displayDescription":"Read stories about ancient floods from different cultures.","transcript":null,"youtube":null,"tourMarker":null},{"id":1929,"mediaID":726,"objectID":16823,"name":"1989.0030","ext":"jpg","linkID":"1989.0030","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1928,"mediaID":119881,"objectID":16823,"name":"1989.0030.001","ext":"mp3","linkID":"1989.0030.001","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":null,"youtube":null,"tourMarker":null},{"id":1855,"mediaID":158248,"objectID":9645,"name":"https:\/\/qrco.de\/bd6WLH","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"View the final version of this painting.","displayDescription":"View the final version of this painting.","transcript":null,"youtube":null,"tourMarker":null},{"id":1854,"mediaID":387,"objectID":9645,"name":"1955.0011","ext":"jpg","linkID":"1955.0011","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":681,"mediaID":134511,"objectID":52770,"name":"https:\/\/goo.gl\/maps\/yHZTRrRNLwk","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"SEE directions to this sculpture by tapping number 3 on this map","displayDescription":"SEE directions to this sculpture by tapping number 3 on this map","transcript":null,"youtube":null,"tourMarker":"Campus Sculpture Tour"},{"id":674,"mediaID":106304,"objectID":52770,"name":"T2015.102","ext":"jpg","linkID":"T2015.102","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":680,"mediaID":101749,"objectID":52770,"name":"T2015.102.001","ext":"mp3","linkID":"T2015.102.001","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Ear for Art","displayDescription":"Audio Tour \u2013 Ear for Art","transcript":"Should all jayhawks look the same?\r\n\r\nThe first Jayhawk image was created in 1912 by Henry Maloy, a student from Eureka, Kansas. Over the years there have been seven different official Jayhawks. Interpretations of the KU mascot have changed over time, often in relation to current events and concerns of the time. \r\n\r\nThis sculpture was created in 1983 by artist Peter Fillerup. Known for sculptures with western themes, the artist said he\u2019d never seen a Jayhawk until he visited campus to do research for the work. \r\n\r\nThis sculpture is different from the jayhawks in front of the Kansas Union and Strong Hall. It\u2019s common for artists to interpret ideas and events in different ways. Viewers who look at works of art can also have varying interpretations. Artworks are multifaceted and can have more than one meaning. \r\n\r\nWhat words come to mind when you look this jayhawk? Let us know by pressing 0# now. We\u2019ll post some responses on the Spencer Museum website. \r\n\r\nTake a walk to see the other sculptures along Jayhawk Blvd and learn more about our jayhawks and other artworks on campus.","youtube":null,"tourMarker":"Campus Sculpture Tour"},{"id":676,"mediaID":114952,"objectID":52770,"name":"T2015.102.002","ext":"mp3","linkID":"T2015.102.002","typeDesc":"Moving Image","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":null,"youtube":null,"tourMarker":null},{"id":675,"mediaID":114935,"objectID":52770,"name":"T2015.102.002","ext":"mp3","linkID":"T2015.102.002","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"When you walk past the Adams Alumni Center, you may notice a bronze sculpture, but not stop to ponder it. The Kansas Jayhawk, crafted by Peter M. Fillerup, was placed on campus in 1983. Peter Fillerup is a fairly well known sculptor, and is most commonly known for his western-themed bronze statues of cowboys. At a young age, he was encouraged to pursue art by his father, a painter. He enjoyed it, and later in life he went to BYU to study art. He continues to make sculptures to this day, and has won numerous awards for his work. The creation of his Jayhawk sculpture was influenced by his visit to KU. There is more to this piece than it seems, as it tells an intriguing story.\r\nWhen you first glance at the 8\u20196\u201d, 700-pound piece of art for the first time, you might just see a dull bird. But that is not all there is to see in this elegant sculpture. If you look closer, you start to notice that the bird has its head held high and its foot striding forward. It seems to be proud of something, as if it has had a triumphant experience. The Jayhawk\u2019s bold look creates an unexplained mood that makes you feel a sense of pride. The cleated foot striding forward makes it feel as if the hawk is imposing in on you. The bird\u2019s stern demeanor is intimidating and the noble creature has a powerful shine to it as its bronze figure glistens in the sun. The Jayhawk is strategically placed upon a plinth, and this adds to the piece. It makes the statue taller than the viewer, creating an effect that introduces the Jayhawk as a dominant being. With its head tilted up, and a solemn look on his face, the Jayhawk seems to be unaware of your presence.\r\nAs you may notice, this Jayhawk seems to look different than the current mascot that we see today. This is used to show how much Kansas has changed since its establishment. It is a reference to how different the school and town were back in the day. It gives off a strong vibe that makes you proud to live in Lawrence. When you first see it, you may not think about its historical meaning, just its appearance. But as you look closer and start to think about the sculpture more, you will start to understand its importance. It is not just a Jayhawk, but it is a piece of Kansas, and it brings us back through the decades of history, not just the schools, but the whole state\u2019s. \r\nThis has been Spencer Hughes with another Bulldog Podcast.","youtube":null,"tourMarker":null},{"id":677,"mediaID":114953,"objectID":52770,"name":"T2015.102.003","ext":"mp3","linkID":"T2015.102.003","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"The Kansas Jayhawk, a sculpture by Peter Fillerup, was crafted in 1983, and sits in front of the Kansas University Alumni Center. Peter McNiven Fillerup is an artist born in 1953 in Cody, Wyoming. Fillerup studied art at Brigham Young University and went on to make several sculptures including The Kansas Jayhawk.\r\n       \tThe craftsmanship on this piece is truly extraordinary. The feathers are finely detailed, so much so, it looks as if it is a genuine feather lathered with bronze. Evidently, a great deal of time went into constructing this piece.  \r\n       \tThe Jayhawk is a widely used symbol throughout Kansas University, and all of Lawrence. You can find a Jayhawk in front of the Kansas University Union, or even in front of banks off campus. So what makes this particular Jayhawk special?\r\n       \tFix your eyes upon its face. As opposed to the other smiling, happy Jayhawks in Lawrence, this one has a firm look upon its face, truly capturing the spirit of Kansas. The strength of a state that had the power to rebuild itself after William Quantrill raided and attempted to destroy the great city of Lawrence. The determination of a state that desperately fought to become a free state fighting off border ruffians and other pro-slavery activists. That is the true spirit of Kansas.\r\n       \tAs you gaze at the feet of The Kansas Jayhawk, you see him sliding off the plinth upon which he is standing. Although he is sliding, he still is proud, with his head high and his chest puffed. Showing he will always be proud of himself, even when he is sliding.\r\n       \tThat is what makes this Kansas Jayhawk more special than the others. This has been Henry DeWitt, with another Bulldog Podcast.","youtube":null,"tourMarker":null},{"id":678,"mediaID":114954,"objectID":52770,"name":"T2015.102.004","ext":"mp3","linkID":"T2015.102.004","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"The Kansas Jayhawk by Peter M. Fillerup, located in front of the Adam Alumni Center, was commissioned by 1951 alumni John and Virginia Walsh Eulich. Peter Fillerup, created the Kansas Jayhawk in 1983. It stands 4 feet 6 inches tall and is made of bronze. Mr. Fillerup is also known for his art depicted the Wild West.\r\nI see a strong resemblance to the 1941 Jayhawk design. I like the way it takes some of the characteristics of the past, but has some modern updates as well. It shows the continuation of tradition.\r\nThe importance of tradition is emphasized by the statue being placed outside of the Alumni Center. Alumni are the most likely to appreciate the symbolism.\r\nSome words that come to mind when I look at this sculpture are proud, brave, and noble. First and foremost, proud. Its head is raised in a proud and confident way. Its fearless pose mimics the brave and fearless attitude of a KU graduate and the noble countenance on the Jayhawk makes one think of the emblem one might see on royal family crest.\r\nAs a person who has lived in Lawrence all my life, one might expect me to want to go to KU. I would actually like to go to K State for their Veterinary course. Regardless of what college I would want to go to, I would like to develop some of these qualities.\r\nOn a campus filled with Jayhawk statues, the Kansas Jayhawk holds its own, making it unique. It\u2019s a testament to the fact that something doesn\u2019t have to be big and grandiose to stand out. The subtle appeal of this sculpture will stand the test of time.\r\nThis has been Alton Viloria with another Bulldog podcast.","youtube":null,"tourMarker":null},{"id":679,"mediaID":114955,"objectID":52770,"name":"T2015.102.005","ext":"mp3","linkID":"T2015.102.005","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"There have been seven different official Kansas University mascots throughout history, changing in relation to the current events and mood of the time period. Some have been happy,  while others angry, such as the 1941-45 fighting Jayhawk, created by Gene \u201cYogi\u201d Williams, which symbolized the mood of WWII. Peter M. Fillerup, born in 1953, grew up in Cody, Wyoming spending his summers playing on his family's ranch and was primarily focused on Wild West designs. He didn\u2019t even know what a Jayhawk was until he came to campus to do research for the project. The Kansas Jayhawk by Peter M. Fillerup, unveiled on November 19, 1983, is an imposing and active piece of art; every detail etched deep into its bronze facade makes this majestic bird look as if it is going to step right off its plinth and soar away. Artists have interpreted the Jayhawk in a variety of styles. Examples of this are displayed in front of the Alumni Center and the Kansas Union. The Jayhawk in front of The Union was part of the \u201cJayhawks on Parade\u201d art exhibit from 2003, along with 29 other Jayhawks that were located around the city. Its smiley and cartoonish appearance starkly juxtaposes that of The Kansas Jayhawk. The Kansas Jayhawk is stalwart and mature standing in front of the Alumni Center with its head held high, its tail feathers jutting out and its chest puffed up. The artist gave the bird these traits for a reason; it was placed in front of the Alumni center to symbolize maturity and adulthood and making a life for yourself. The sculpture appears complete, its feathers etched in, its beak sharp and refined just as the Alumni have honed and refined their skills through experience. The Jayhawk in front of the Union is soft and rounded, its beak is dull. Its feathers aren\u2019t detailed, it is still young just as the students are still young, their book is not yet done being written. This is true for everything. I am about to go into high school and become a freshmen. As a freshmen I will still be the young Jayhawk but when I leave as a senior I will have sharpened my direction in life and become The Kansas Jayhawk. This has been Avery with another bulldog podcast.","youtube":null,"tourMarker":null},{"id":1532,"mediaID":156215,"objectID":46396,"name":"https:\/\/www.kukjegallery.com\/KJ_artists_view_1.php?a_no=188&v=1","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"View more works by U Sunok.","displayDescription":"View more works by U Sunok.","transcript":null,"youtube":null,"tourMarker":null},{"id":1530,"mediaID":119928,"objectID":46396,"name":"2013.0133.01,2.001","ext":"mp3","linkID":"2013.0133.01,2.001","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":null,"youtube":null,"tourMarker":null},{"id":1531,"mediaID":119982,"objectID":46396,"name":"2013.0133.01,2.002","ext":"mp3","linkID":"2013.0133.01,2.002","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":null,"youtube":null,"tourMarker":null},{"id":1533,"mediaID":96804,"objectID":46396,"name":"2013.0133.01,2view2","ext":"jpg","linkID":"2013.0133.01,2view2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1534,"mediaID":96805,"objectID":46396,"name":"2013.0133.01,2view3","ext":"jpg","linkID":"2013.0133.01,2view3","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1535,"mediaID":96806,"objectID":46396,"name":"2013.0133.01,2view4","ext":"jpg","linkID":"2013.0133.01,2view4","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1536,"mediaID":96807,"objectID":46396,"name":"2013.0133.01,2view5","ext":"jpg","linkID":"2013.0133.01,2view5","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1537,"mediaID":96808,"objectID":46396,"name":"2013.0133.01,2view6","ext":"jpg","linkID":"2013.0133.01,2view6","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1538,"mediaID":96809,"objectID":46396,"name":"2013.0133.01,2view7","ext":"jpg","linkID":"2013.0133.01,2view7","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1888,"mediaID":89913,"objectID":10076,"name":"1959.0042","ext":"jpg","linkID":"1959.0042","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1889,"mediaID":89914,"objectID":10076,"name":"1959.0042view2","ext":"jpg","linkID":"1959.0042view2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":700,"mediaID":134515,"objectID":52774,"name":"https:\/\/goo.gl\/maps\/yHZTRrRNLwk","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"SEE directions to this sculpture by tapping number 8 on this map","displayDescription":"SEE directions to this sculpture by tapping number 8 on this map","transcript":null,"youtube":null,"tourMarker":"Campus Sculpture Tour"},{"id":707,"mediaID":106308,"objectID":52774,"name":"T2015.106","ext":"jpg","linkID":"T2015.106","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":699,"mediaID":101745,"objectID":52774,"name":"T2015.106.001","ext":"mp3","linkID":"T2015.106.001","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Ear for Art","displayDescription":"Audio Tour \u2013 Ear for Art","transcript":"Is this sculpture about Kansas?\r\n\r\nWorks of art can be interpreted in many ways- and what we think about a work can change with the time period. The first sculpture on campus, this work was originally titled The Corn Planter. It was purchased at the 1904 St. Louis World\u2019s Fair and given to the university by Dr. Simeon Bell in memory of his wife. Bell hoped it might help succeeding generations \u201cunderstand the difficulties and handicaps early Kansans encountered.\u201d To better reflect this idea, the sculpture was later renamed The Pioneer. \r\n\r\nWhich title is a better fit for the work -the current or the original? Does knowing the earlier title make you think about the work in a different way? Let us know your thoughts by pressing 0#\r\n\r\nHere\u2019s another interesting fact: The Oregon Trail actually passed close to this spot. Does this strengthen the case for the new title? Is it OK to retitle a work of art without the artist\u2019s approval?","youtube":null,"tourMarker":"Campus Sculpture Tour"},{"id":701,"mediaID":114969,"objectID":52774,"name":"T2015.106.002","ext":"mp3","linkID":"T2015.106.002","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"The 1st sculpture on the KU campus, the Pioneer by Frederick C. Hibbard shows a man planting and harvesting corn. Standing at 5 feet, 11\u00bc inches, this bronze statue was a gift of Simeon B. Bell in 1904. This sculpture is placed, facing west, most likely to reflect the attitude of the time period it was created in. During the 1800s, Americans attempted to spread out across the entire continent, colonizing and building cities. This led to the America that exists today, and this piece wouldn\u2019t be here today if it weren\u2019t for early settlers, or as we know them, pioneers. These people were focused on innovation and exploration. Throughout this time period, and into the 20th century, people were expanding, inventing, and innovating. In 150 years, our society has transformed, from a society with  rudimentary electronics, such as telegraphs, and scarce electrical lighting, with our main mode of transportation being horse drawn carriages, to having phones that can call someone anywhere on the planet one minute, then transform into an entertainment system the next by simply touching the screen. We have supercomputers, and we can travel faster than the speed of sound. We have never lost this attitude of innovation. We still aspire to create something new. Yet, it seems ironic, that despite what this sculpture represents, it is located a mere few hundred feet from an area of land that has been left undisturbed since this time. Surrounded by buildings, roads, and landscaped lawns lies something so different, so out of place, possibly to help us remember where we came from, and see how far we\u2019ve come. No matter what we do, or where we go, we must never forget our origins. This piece represents this more and more as time goes on, and we get farther and farther from this time. It is important to remember that all the towns, cities, and states we see here started with a single brave pioneer, moving forward into the unknown. This applies ideas too. A single man figured out how to make light come out of a little glass bulb. A single man changed his voice into electricity, then back into sound again. The limits of human achievement are defined only by the imagination of each person, as they think of something new, and go into the unknown. As colonization was started by a single pioneer, the next great step forward for humanity starts with the step of one single person. This has been John Loos with another Bulldog Podcast.","youtube":null,"tourMarker":null},{"id":702,"mediaID":114970,"objectID":52774,"name":"T2015.106.003","ext":"mp3","linkID":"T2015.106.003","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"\u201cThe Pioneer\u201d by Frederick C. Hibbard creates a whirlpool of thoughts in my head. Hibbard, born June 15, 1881 in Canton, Mississippi has been sculpting since he was a young boy with clay he found on the muddy banks of rivers. Now he is a thriving bronze sculptor. Some of his major sculptures are, a Confederate monument in Forsyth, Georgia, and the eagle on top of the Illinois monument in Vicksburg. He also has sculptures of Abraham Lincoln with Mary Todd Lincoln, Ulysses S. Grant, Jefferson Davis, Mark Twain, Tom Sawyer, along with Huckleberry Finn. Hibbard later died in Chicago on December 12, 1950. \u201cThe Pioneer\u201d is a sculpture of a farmer that is harvesting corn. This sculpture, gifted to the University in 1905 by Simeon Bell, was the first sculpture on campus. It is located on top of a plinth in between Blake and Frazer hall. \u201cThe Pioneer\u201d, created in 1856 is made out of bronze and stands at 5 feet 11\u00be inches. \u201cThe Pioneer\u201d raises many questions in me: where did this Pioneer come from, why is he all alone, and who is he providing for. The Pioneer looks aged from years of aggravating farm labor that required an extreme amount of hard-work. It is very noticeable that this pioneer is under incredible amounts of stress doing his job, but he is being exceptionally bold to keep going through with it. A 30 second walk away from \u201cThe Pioneer\u201d, is a patch of grass that has been untouched by the University, I believe that the patch of grass is there to pay respect to the Pioneers that cultivated the land before us. This sculpture makes me feel sorry for the stress put on the farmer, but hopeful for his future. \u201cThe Pioneer\u201d has many components to it, it is made up of a farmer, shovel, seeds in his hand, harvested corn, soil, and a wide-brimmed hat. This statue reminds me of when farmers were relied on heavily to produce food for the whole Country. The hearty Pioneer brings up many questions to ponder, but those questions have no right or wrong answer, they are up to you to decide.  This has been Peyton Mallory with another Bulldog Podcast.","youtube":null,"tourMarker":null},{"id":703,"mediaID":114971,"objectID":52774,"name":"T2015.106.004","ext":"mp3","linkID":"T2015.106.004","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"Who is the man digging in the ground sweating with a shovel? Standing at 5\u201911 feet tall, digging in the ground is The Pioneer made by Frederick C. Hibbard and purchased in 1904 was made of bronze and given to the Kansas University as a gift. This piece is  interesting in why it was a gift to Simon B. Bell who was a pioneer who came all the way from D.C. to Lawrence, Kansas and it's just amazing how far people would travel from their old homes to find a new life that could be rewarding or horrible.\r\nThis sculpture can have many interpretations. One of them is that it represents the hardships of the people who risked everything to go to new lands to start up a new life for themselves and eventually be able to start a community then hopefully a town.\r\nWhen I see this piece it makes me wonder what type of people came over to Kansas and how they started their life, were they farmers, miners, ranchers, and many other things and where they came from. Did they have to go through life threatening situations or was their journey fairly easy. This is why this sculpture is so interesting it makes you wonder about other things.\r\nEveryone can have some connection to this piece of artwork too since no matter who you are you can relate to the pioneer in some way or another, some people travel a lot which is what pioneers had to do to get to their new homes and towns while others may just have relatives who traveled somewhere new to live which is still relatable to this.\r\nI personally love this sculpture because of all the history it has to offer us all and that it represents so much and that it's also an amazing sculpture even by itself. \r\nThis has been Savannah with another Bulldog Podcast.","youtube":null,"tourMarker":null},{"id":704,"mediaID":114972,"objectID":52774,"name":"T2015.106.005","ext":"mp3","linkID":"T2015.106.005","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"Manifest destiny is the United States supposed god given right to expand to the pacific coast. The pioneer statue on KU\u2019s campus exemplifies this thought. This statue, showing a pioneer planting corn, was created by the American Bronze Foundry of Chicago and Frederick Cleveland Hibbard in 1856. He is made to look proud and majestic in his work. This may have been the artist trying to show his sense of patriotism. But back to Manifest Destiny. This term began being used widely during the 1840\u2019s to justify the expansion of Americans into California and Oregon Territory and remove many peoples during that expansion.\r\nOne group heavily affected by this were the Native Americans. They were forced off their land and onto reservations half the size and a fourth as fertile as their previous land. Many long lasting traditions stopped when they were moved. I believe that the pioneer statue shows most Americans opinions about westward expansion and their ignorance on what was really going on.\r\nAnother interesting fact about this piece of art is its placement. About 100 feet from this statue there is a small patch of untouched prairie. Is this coincidental or was this on purpose. This was probably on purpose as both of these things remind of us simpler times. The patch of grass especially contrasts with the large buildings and the structures surrounding it. To some this may seem out of place in our technologically advanced world but I think it is prime example reminder of how far we have come. This pioneer changed the course of American history standing in that very spot 150 years ago so what's stopping you. \r\nThis has been Nathan Williams with another Bulldog Podcast.","youtube":null,"tourMarker":null},{"id":705,"mediaID":114973,"objectID":52774,"name":"T2015.106.006","ext":"mp3","linkID":"T2015.106.006","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"A typical drought in Kansas during the nineteenth century dried the wells, scorched the crops, and killed the livestock. If any produce somehow made it to maturity, the grasshoppers would consume the harvest and complete the devastation. Tornadoes came about tearing the farmer\u2019s hope further apart by destroying their hard work. Snakes would live in food cellars and were often found under the covers of beds looking for an opportunity for strike. For the pioneers of the nineteenth century, the struggles they went through were unthinkable, but despite these hardships, they lasted through trials and did not surrender. Two great men, Frederick C Hibbard and Simeon Bell were able to commemorate these pioneers with a statue that can be seen today. \r\nSimeon Bell greatly wanted a local school of medicine and a hospital in memory of his late wife. As a result, Bell donated $25,000 worth of land and $50,000 more of funds for several hospitals in Kansas City and many Universities of the area. Bell was honored for his assistance to the developing college and in addition, continued to give. Bell presented the university their  first sculpture on campus, after purchasing it from a Chicago artist by the name of Frederick Hibbard.\r\nWhen beginning his sculpture career in the early 1900\u2019s, Frederick C. Hibbard sought  for inspiration. Growing up in the midwest, Hibbard had witnessed firsthand the hardships of farming through tough times to save crops and livestock. He wanted people to view his work and acknowledge the accomplishments of their ancestors. With that, Hibbard began his sculpture, The Corn Planter. In this sculpture, we see a  farmer holding a shovel in one hand and corn seeds in the other. Two ears of corn sit at his feet, representing the plague that early pioneers went through.  The Corn Planter later was named The Pioneer. To this day, the figure faces west as a true pioneer; fearless and powerful.\r\nWhile on the University's campus, I recognize this sower faithfully standing strong around a plot of wheat. The Pioneer represents hope and determination through tribulations of the world. It is made of bronze, which also could symbolize the strength of the farmers. I believe that it was significant that the artist had lived in the midwest and noticed the hardships of the farmers and early pioneers. Because of his background, he was able to create an accurate depiction of the early Kansas settlers to inspire enduring through challenges, without surrender. This has been Martha with another Bulldog Podcast.","youtube":null,"tourMarker":null},{"id":706,"mediaID":114974,"objectID":52774,"name":"T2015.106.007","ext":"mp3","linkID":"T2015.106.007","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"When you look upon the bronze pioneer erected by F.C. Hibbard, a Missouri native who spent most of his life working in Chicago, you see a brave man on the edge of western expansion. When you look deeper into the piece,  you begin to see a larger story. A tale about a man starting his life anew on the frontier. If you look closely you can see the pioneer planting his corn after harvesting the other stocks. This could symbolize a man starting over and planting or creating a new beginning for himself. As you stare into the blank eyes of the pioneer you can begin to see the pain and the loneliness of this man, a man who has decided to take a risk and venture into foreign territories. That is what makes this bronze man an extraordinarily brave person.\r\nThe location of The Pioneer may shed light on some of his story. The pioneer sits between Frazier and Blake hall mere yards away from a piece of preserved, untouched prairie. This piece of prairie, is a pristine piece of Kansas History, that stands resolutely and firm untouched by the changes around it. This may represent that the Pioneer was a man who ventured into Kansas during the prairie days. He may have been one of the first to settle on the new land.      \r\nMany people look upon the Pioneer and see a simple green statue. They do not take the time to look deeper into the story behind the Pioneer. He represents man striving to have something better, an improved life from what he previously had. Maybe he is escaping from something by deciding to go out on the frontier. 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about Haida mythology and folktales.","displayDescription":"Learn more about Haida mythology and folktales.","transcript":null,"youtube":null,"tourMarker":null},{"id":2009,"mediaID":59662,"objectID":32274,"name":"2007.3118","ext":"jpg","linkID":"2007.3118","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2013,"mediaID":135142,"objectID":32274,"name":"2007.3118.001","ext":"mp3","linkID":"2007.3118.001","typeDesc":"Sound Recording","description":"Hear a SWMS student's perspective.","displayDescription":"Hear a SWMS student's perspective.","transcript":null,"youtube":null,"tourMarker":null},{"id":2003,"mediaID":136290,"objectID":32274,"name":"2007.3118.002","ext":"mp3","linkID":"2007.3118.002","typeDesc":"Sound Recording","description":"Listen to core object information.","displayDescription":"Listen to core object information.","transcript":"The artist is Luke Watson, active in Canada, died 1948.\r\n\r\nThe work is a totem pole, created in 1937.\r\n\r\nThe work was made with wood, paint, and carving.","youtube":null,"tourMarker":"Spencer Kids: Animal Tails (with audio descriptions)"},{"id":2004,"mediaID":136291,"objectID":32274,"name":"2007.3118.003","ext":"mp3","linkID":"2007.3118.003","typeDesc":"Sound Recording","description":"Listen to Audio Description","displayDescription":"Listen to Audio Description","transcript":"This totem pole is a tall, wooden column carved with the faces of people and animals stacked on top of each other. It is carved from the trunk of a single tree and stands about eight and half feet tall. It has been flattened on one side and is displayed on a low platform with the flattened side against the wall. The carved pole protrudes about a foot from the wall and is about a foot wide. The surface of the carved wood is smooth. It is painted the warm neutral of a slightly grayed old ivory with features of the creatures outlined in black, red, and green. \r\n\r\nThe scale of the animals and humans increases from the top of the pole to the bottom. At the top is a small, seal-like animal that sits on the head of a bird with a hooked beak. The top of a human\u2019s head presses up under the bird\u2019s beak, and the human leans back into the bird\u2019s chest, between its wings. The human\u2019s hands wrap around the fin-like protrusions of the creature below, which faces down with the top of its head toward the flattened back side of the pole. The animal\u2019s eyes, nose, and mouth full of large teeth are on the sides of the totem pole. It balances nose-down on the back of a human who stares straight ahead with legs drawn up under it and hands gripping the brow of the animal on which he squats. That animal has fin-like shapes protruding from between its side teeth and a seal-like animal protruding out and down from between its front teeth. On the back of the seal-like animal are the flippers of the creature above. Below the seal-like animal is a creature with 12 violet legs, 6 on either side of a segmented body and head. The multi-legged animal\u2019s head points down to a large creature at the base of the pole. This large creature sits with its back knees drawn up and its forelegs grasping the back of a large bird that emerges from the seated animal\u2019s mouth with its head facing down. \r\n\r\nThe look of the carved creatures combines recognizable natural-looking features with highly stylized ones. Humans and animals share heavy black brows, wide red mouths, and wide-open eyes that are pointed on either side and have large, round, black irises. A pale green appears in large patches around the eyes of animals at the top, middle, and bottom of the pole and in smaller shapes up and down the length of the pole. The only other color on the pole is the muted violet of the 12 slender, jointed legs of one of the creatures.","youtube":null,"tourMarker":"Spencer Kids: Animal Tails (with audio descriptions)"},{"id":2005,"mediaID":136292,"objectID":32274,"name":"2007.3118.004","ext":"mp3","linkID":"2007.3118.004","typeDesc":"Sound Recording","description":"Listen to Label Text","displayDescription":"Listen to Label Text","transcript":"The Haida of the Pacific Northwest Coast never developed a written language, relying instead on oral history to transmit cultural, historic, and personal knowledge. Their rich artistic traditions, which include carving, weaving, and basketmaking, also use form line symbols, like those seen on this totem pole, to encode messages. In fact, most Haida poles are carved for one of four general purposes: to record the ancestry of a specific family, document the history of a clan, illustrate Haida folklore, or memorialize a single individual. Read from the top down, this folklore pole depicts two traditional stories that provide insight into Haida morality, history, religion, and ecological understanding.","youtube":null,"tourMarker":"Spencer Kids: Animal Tails (with audio descriptions)"},{"id":2006,"mediaID":136293,"objectID":32274,"name":"2007.3118.005","ext":"mp3","linkID":"2007.3118.005","typeDesc":"Sound Recording","description":"Listen to App Text","displayDescription":"Listen to App Text","transcript":"This totem pole comes from the Native American Haida (HI-duh) clan from the Pacific Northwest United States. It tells two stories through the people and animals shown on it. See if you can find each figure or animal as you read the descriptions below.\r\n\r\n\r\n\r\nAbout the art \r\n\r\nThe top portion portrays the Nanasimgyet myth. In this story, a man named Nanasimgyet (fifth from the top of the totem) gives his wife (third from the top) a sea otter (top figure) to clean and skin. As she works at the water\u2019s edge, she is captured and taken below the sea. With the help of an orca whale (sixth from the top of the totem), Nanasimgyet journeys underwater to free his wife and returns home with her.\r\n\r\nThe second legend is the Qagwaii, or \u201cStrong Man,\u201d tale. According to the Haida tradition, a young boy receives a magical halibut (a type of fish) skin that allows him to transform into this type of fish. While traveling in halibut form, the boy encounters many characters, including a giant crab (third from the bottom of the totem). Eventually, the boy has to return the halibut skin because his grandfather only let him borrow it. \r\n\r\n\r\n\r\nAbout the animals\r\n\r\nSea otters are one of the only animals that use tools. They mainly use rocks to help them crack open the crabs that they eat.\r\n\r\nThis is the end of our animal \u201ctails\u201d, but there are lots of other works of art in the Museum to observe! Try using some of the tricks you learned in this tour to look at another artwork. You can also use this app when you get home to look back at all the animals you encountered today.","youtube":null,"tourMarker":"Spencer Kids: Animal Tails (with audio descriptions)"},{"id":2008,"mediaID":143121,"objectID":32274,"name":"2007.3118.006","ext":"mp3","linkID":"2007.3118.006","typeDesc":"Sound Recording","description":"Hear a SWMS student's perspective.","displayDescription":"Hear a SWMS student's perspective.","transcript":null,"youtube":null,"tourMarker":"Bulldog Art Tour"},{"id":2007,"mediaID":58986,"objectID":32274,"name":"2007.3118det1","ext":"jpg","linkID":"2007.3118det1","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2010,"mediaID":59664,"objectID":32274,"name":"2007.3118det2","ext":"jpg","linkID":"2007.3118det2","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2011,"mediaID":59665,"objectID":32274,"name":"2007.3118det3","ext":"jpg","linkID":"2007.3118det3","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2000,"mediaID":58989,"objectID":32274,"name":"2007.3118det4","ext":"jpg","linkID":"2007.3118det4","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2001,"mediaID":58990,"objectID":32274,"name":"2007.3118det5","ext":"jpg","linkID":"2007.3118det5","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":2002,"mediaID":58991,"objectID":32274,"name":"2007.3118det6","ext":"jpg","linkID":"2007.3118det6","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":838,"mediaID":158683,"objectID":44237,"name":"https:\/\/www.spencerart.ku.edu\/sites\/default\/files\/athome\/docs\/2022-07\/activity_mindful_collage_digital_revised.pdf","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"Access a \u201cMindful Collage\u201d art activity inspired by this sculpture.","displayDescription":"Access a \u201cMindful Collage\u201d art activity inspired by this sculpture.","transcript":null,"youtube":null,"tourMarker":null},{"id":617,"mediaID":153192,"objectID":44237,"name":"https:\/\/www.yeesookyung.com\/translated-vase-","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"Learn more about Yeesookyung\u2019s Translated Vessels series.","displayDescription":"Learn more about Yeesookyung\u2019s Translated Vessels series.","transcript":null,"youtube":null,"tourMarker":null},{"id":597,"mediaID":72886,"objectID":44237,"name":"2012.0033","ext":"jpg","linkID":"2012.0033","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":616,"mediaID":156203,"objectID":44237,"name":"2012.0033.001","ext":"pdf","linkID":"2012.0033.001","typeDesc":"Document","description":"Media Release","displayDescription":"Media Release","transcript":null,"youtube":null,"tourMarker":null},{"id":619,"mediaID":119985,"objectID":44237,"name":"2012.0033.001","ext":"mp3","linkID":"2012.0033.001","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"The exquisitely formed piece of art known as Translated Vase was created in 2009 by South Korean artist Yee Sookyung. The artist uses ceramic shards, epoxy, 24K gold leaf, and 24K gold powder. In her series of fluid, slightly bulbous sculptures, she takes thrown out shards from present day Korean ceramicists and combines each naturally formed piece to produce asymmetric figurines typical to modern Korean art, such as the moon jar. By covering the cracks with gold, she seemingly refers to the Japanese tradition of mending ceramics known as kintsugi. For Yee Sookyung, her choice of gold is based on the Korean homophone of \u201cgold\u201d (geum) and \u201ccrack\u201d (geum). She said, \u201cI wanted to add a sense of humor to my work by filling geums (cracks), which are considered as defects, with a valuable material such as real geum (gold).\u201d When I was choosing my piece of art for this podcast, this piece immediately caught my eye. I was awed by the flowing, elongated sculpture and I felt that this piece of art both showcases and explores the connection between modern and historical art of not only Korea, but Japan as well. By combining broken shards unsatisfactory to the perfectionist ceramicists, she creates new meaning and breathes new life into otherwise humble pieces. This has been another Bulldog Podcast by Justin Lee.","youtube":null,"tourMarker":null},{"id":618,"mediaID":122249,"objectID":44237,"name":"2012.0033.002","ext":"mp3","linkID":"2012.0033.002","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Art Tour","displayDescription":"Audio Tour \u2013 Bulldog Art Tour","transcript":null,"youtube":null,"tourMarker":null},{"id":612,"mediaID":136252,"objectID":44237,"name":"2012.0033.003","ext":"mp3","linkID":"2012.0033.003","typeDesc":"Sound Recording","description":"Listen to core object information.","displayDescription":"Listen to core object information.","transcript":"The artist is Yeesookyung, born in 1963 in Seoul, South Korea.\r\n\r\nThe title of the work is Translated Vase, created in 2009.\r\n\r\nThe work was made with ceramic shards, epoxy, 24 karat gold leaf, and 24 karat gold powder.","youtube":null,"tourMarker":null},{"id":613,"mediaID":136253,"objectID":44237,"name":"2012.0033.004","ext":"mp3","linkID":"2012.0033.004","typeDesc":"Sound Recording","description":"Listen to Audio Description","displayDescription":"Listen to Audio Description","transcript":"This is a large, globular ceramic sculpture constructed from many broken pieces of pottery. Each large piece is joined like a puzzle with what looks like molten gold for glue. Many of the pieces are completely white with a sheen of porcelain glaze. Some scattered pieces are patterned with blue in various designs. Some pieces have spouts, handles, vase necks, bases, or, in one place, a clawed and scaled foot of a creature. The overall shape is organic, bubbling out in all directions, with various appendages jutting out. On closer examination, some pieces are more identifiable than others. A teapot extends its spout from the uppermost tip, while three jug spouts converge on a lower projection. Ring bases of vases show circular patterns primarily around the lower half. Most of the blue on white patterning is painted, but a few places have a raised texture of rocky, stylized mountains and puffy, swirling clouds. Some painted ceramic pieces show floral imagery. Others show birds in flight or perched in a tree. The overall effect is a meticulous yet haphazard ceramic assemblage in white and blue, with cracks highlighted in gleaming gold.","youtube":null,"tourMarker":null},{"id":614,"mediaID":136254,"objectID":44237,"name":"2012.0033.005","ext":"mp3","linkID":"2012.0033.005","typeDesc":"Sound Recording","description":"Listen to Label Text","displayDescription":"Listen to Label Text","transcript":"Yee\u2019s artistic practice delves deep into Korean consciousness, uncovering fragments of historical memory that she transforms into new manifestations of contemporary life. The sculptures in her Translated Vessels series are composed of broken ceramic pieces from waste piles of Korean ceramicists that she reimagines as biomorphic \u201cmutant\u201d sculptures. Each organically shaped form emerges from a painstaking jigsaw-puzzle process in which Yee instigates new connections between disparate shards.","youtube":null,"tourMarker":null},{"id":615,"mediaID":143124,"objectID":44237,"name":"2012.0033.006","ext":"mp3","linkID":"2012.0033.006","typeDesc":"Sound Recording","description":"Hear a SWMS student's perspective.","displayDescription":"Hear a SWMS student's perspective.","transcript":null,"youtube":null,"tourMarker":"Bulldog Art Tour"},{"id":610,"mediaID":143684,"objectID":44237,"name":"2012.0033.007","ext":"mp3","linkID":"2012.0033.007","typeDesc":"Sound Recording","description":"Listen to Tombstone","displayDescription":"Listen to Tombstone","transcript":null,"youtube":null,"tourMarker":"Altered Perspectives"},{"id":611,"mediaID":143685,"objectID":44237,"name":"2012.0033.008","ext":"mp3","linkID":"2012.0033.008","typeDesc":"Sound Recording","description":"Listen to Audio Description","displayDescription":"Listen to Audio 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tympanum.","transcript":null,"youtube":null,"tourMarker":null},{"id":1089,"mediaID":158438,"objectID":10277,"name":"1963.0020..a,b,c.001","ext":"mp3","linkID":"1963.0020..a,b,c.001","typeDesc":"Sound Recording","description":"Didactic \u2013 Art Minute","displayDescription":"Didactic \u2013 Art Minute","transcript":"I\u2019m David Cateforis with another art minute from the Spencer Museum of Art. One of the most moving subjects in Christian art is the Virgin Mary\u2019s lamentation over the body of her son Jesus after his Crucifixion. From the early medieval period onward in many parts of Europe, sculptures of the \u201cLamentation\u201d were produced in abundance.This particular imagery sometimes appeared on church portals, which is the case with the Spanish tympanum, or semi-circular, carved stone slab, now displayed above the inner doorway of the Spencer\u2019s central court. It depicts a sorrowful Virgin Mary with the lifeless body of her son resting across her lap. She is flanked by John the Evangelist on the left and Mary Magdalen on the right, while two other mourners appear in the background. The anonymous, early 16th-century sculptor who created this work employed a subtly naturalistic style that emphasized the humanity rather than the divinity of Christ. As worshipers entered the church for which this tympanum was made, they would have gazed upon this Lamentation and been reminded that the Son of God once experienced their own sense of vulnerability when he took human form and was sacrificed for their redemption. 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Clementine Hunter, the artist of this untitled painting, was never formally trained as an artist and did not start painting until she was in her 50s. As a self-taught artist, Hunter often painted scenes of her daily life in the na\u00efve style as you see in this painting.","youtube":null,"tourMarker":null},{"id":1992,"mediaID":49102,"objectID":29845,"name":"2005.0191.002","ext":"mp3","linkID":"2005.0191.002","typeDesc":"Sound Recording","description":"Didactic \u2013 Art Minute","displayDescription":"Didactic \u2013 Art Minute","transcript":"Episode 251\r\nMay-2006, revised Jan-2012, Emily Stamey\r\n(revision of Episode 70)\r\nI\u2019m David Cateforis with another Art Minute from the Spencer Museum of Art. A lively untitled painting by the Louisiana artist Clementine [Clementeen] Hunter pictures African-American life in the rural south. Arranged in horizontal bands across the brightly colored composition and depicted in a simplified style, multiple figures perform various activities such as attending a baptism, washing laundry, and picking cotton. Hunter knew these scenes well. Born at the close of the nineteenth century, she lived nearly her entire life on a plantation.There she worked as a cotton picker and domestic servant, raised five children, cared for her dying husband, and, at age fifty, taught herself to paint. This artistic turn of events occurred when Hunter was sent to clean up after an artist visitor. Discovering discarded paints in the guest\u2019s room, she salvaged these materials and created her first work. As she did for the painting in the Spencer, Hunter used an old window shade for her canvas. Clementine Hunter repeatedly created these scenes of daily life until she died, one of Louisiana\u2019s most famous artists, at the age of 101. With thanks to Emily Stamey for her text, from the Spencer Museum of Art, I\u2019m David Cateforis.","youtube":null,"tourMarker":null},{"id":1994,"mediaID":143678,"objectID":29845,"name":"2005.0191.003","ext":"mp3","linkID":"2005.0191.003","typeDesc":"Sound Recording","description":"Listen to core object information.","displayDescription":"Listen to core object information.","transcript":null,"youtube":null,"tourMarker":"Altered Perspectives"},{"id":1995,"mediaID":143679,"objectID":29845,"name":"2005.0191.004","ext":"mp3","linkID":"2005.0191.004","typeDesc":"Sound Recording","description":"Listen to Audio Description","displayDescription":"Listen to Audio Description","transcript":null,"youtube":null,"tourMarker":"Altered Perspectives"},{"id":1142,"mediaID":125545,"objectID":13418,"name":"https:\/\/www.youtube.com\/watch?v=iQdQxW1cpa4","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"Watch and listen to a large-scale Bertoia sculpture.","displayDescription":"Watch and listen to a large-scale Bertoia sculpture.","transcript":null,"youtube":null,"tourMarker":"Keep Calm and Breathe"},{"id":1146,"mediaID":121433,"objectID":13418,"name":"https:\/\/www.youtube.com\/watch?v=TtZ3qmGBWEM","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"See a performance of Bertoia sculptures.","displayDescription":"See a performance of Bertoia sculptures.","transcript":null,"youtube":null,"tourMarker":"Keep Calm and Breathe"},{"id":1152,"mediaID":158685,"objectID":13418,"name":"1980.0207","ext":"jpg","linkID":"1980.0207","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1143,"mediaID":98358,"objectID":13418,"name":"1980.0207.001","ext":"mp3","linkID":"1980.0207.001","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Ear for Art","displayDescription":"Audio Tour \u2013 Ear for Art","transcript":"Why am I allowed to touch this sculpture? This untitled work by Harry Bertoia is nicknamed \u201cMusical Sculpture\u201d because of the lovely sound it makes when touched. It was Bertoia\u2019s intention to incorporate sound into his sculptural pieces. By touching the sculpture and making it sing, you can bring the sculpture to life as the artist intended.","youtube":null,"tourMarker":null},{"id":1149,"mediaID":159215,"objectID":13418,"name":"1980.0207.002","ext":"pdf","linkID":"1980.0207.002","typeDesc":"Document","description":"Media Release","displayDescription":"Media Release","transcript":null,"youtube":null,"tourMarker":null},{"id":1155,"mediaID":49070,"objectID":13418,"name":"1980.0207.002","ext":"mp3","linkID":"1980.0207.002","typeDesc":"Sound Recording","description":"Didactic \u2013 Art Minute","displayDescription":"Didactic \u2013 Art Minute","transcript":"Episode 22. I\u2019m David Cateforis with another Art Minute from the Spencer Museum of Art. The Spencer\u2019s most user-friendly artwork is a welded bronze sculpture entitled \"Musical Sculpture\". At first glance it appears simply to be two unimposing groups of 36-inch vertical metal rods standing on a bronze base. From a distance, the rods look rigid, but from up close they appear flexible. Visitors are invited to gently brush their hands across the metal rods, causing them to sway slightly and emit a chiming sound. This deceivingly simple sculpture was made around 1970 by the Italian-born artist Harry Bertoia, who taught metalworking at the Cranbrook Academy in Michigan and later designed furniture using wire mesh. Out of this experience he worked on a small sculpture that was supposed to resemble desert grasses. One of the wires accidentally broke off and happened to touch another one, making a sound that surprised and delighted Bertoia. He realized he could incorporate sound into sculptures using a variety of different wires and metals. One result is the Spencer\u2019s Musical Sculpture, whose enchanting vibrations, activated by a gentle touch, enliven the museum\u2019s 20\/21 gallery. With thanks to Loraine Lindenbaum for her text, from the Spencer Museum of Art, I\u2019m David Cateforis.","youtube":null,"tourMarker":null},{"id":1148,"mediaID":119830,"objectID":13418,"name":"1980.0207.003","ext":"mp3","linkID":"1980.0207.003","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"When I first saw this piece of art, I became confused. How is it that metal beams sticking straight up from a board constitute art? Then I saw the sign telling me to stroke the sides of the art piece gently. Don\u2019t worry; no security guard is going to come put you in handcuffs for touching this unique artwork. Harry Bertoia, the artist mastermind behind this fascinating work of art, spent his childhood in Italy, but immigrated to the United States in 1930. He attended high school in Detroit, Michigan and became an accomplished metalworker. Harry Bertoia began his artistic career by creating sculptures that depicted nature and other objects in the wilderness. He seemed to enjoy producing meaningful art that \u201canswers the questions of the universe.\u201d Bertoia did not title or sign any of his work, for as his daughter stated, \u201cThey were part of the universe that God designed, and he would have little or no influence on another person's imagination.\u201d Most of these sculptures were created out of metal and some, like the art before you, created a sound effect he called \u201cSonambient.\u201d Bertoia used the word Sonambient to describe the sound and environment created by his sound sculptures. This sound produced by his artwork evokes different thoughts and feelings in each person. When I first stroked the smooth, cool metal bars, the sound that erupted had an almost eerie effect. When I returned to this display, the sound changed in my mind to more of a spring sound, very similar to chimes. While looking at other art, I found myself drawn back to the figure to again hear its entrancing sound. The noises made from this magical work of art can fill up the whole room with light ringing until the vibrations slow, causing the sound to fade. Reticence remains until someone upsets the stillness once more. So go on and gently drag your hand across the side to see what the captivating sound makes you think of and how it makes you feel.","youtube":null,"tourMarker":null},{"id":1150,"mediaID":119887,"objectID":13418,"name":"1980.0207.004","ext":"mp3","linkID":"1980.0207.004","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":null,"youtube":null,"tourMarker":null},{"id":1151,"mediaID":119988,"objectID":13418,"name":"1980.0207.005","ext":"mp3","linkID":"1980.0207.005","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":null,"youtube":null,"tourMarker":null},{"id":1147,"mediaID":143109,"objectID":13418,"name":"1980.0207.006","ext":"mp3","linkID":"1980.0207.006","typeDesc":"Sound Recording","description":"Hear a SWMS student's perspective.","displayDescription":"Hear a SWMS student's perspective.","transcript":null,"youtube":null,"tourMarker":"Bulldog Art Tour"},{"id":1153,"mediaID":158686,"objectID":13418,"name":"1980.0207view002","ext":"jpg","linkID":"1980.0207view002","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1154,"mediaID":158687,"objectID":13418,"name":"1980.0207view003","ext":"jpg","linkID":"1980.0207view003","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1144,"mediaID":158688,"objectID":13418,"name":"1980.0207view004","ext":"jpg","linkID":"1980.0207view004","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1145,"mediaID":142700,"objectID":13418,"name":"event.12637.001A","ext":"mp4","linkID":"event.12637.001A","typeDesc":"Moving Image","description":"Watch a performance using this work by Ben Justis","displayDescription":"Watch a performance using this work by Ben Justis","transcript":null,"youtube":null,"tourMarker":null},{"id":1978,"mediaID":158242,"objectID":20919,"name":"https:\/\/www.petahcoyne.org\/performance","ext":null,"linkID":null,"typeDesc":"Virtual Object","description":"View photos of dancers performing with similar Petah Coyne sculptures.","displayDescription":"View photos of dancers performing with similar Petah Coyne sculptures.","transcript":null,"youtube":null,"tourMarker":null},{"id":1982,"mediaID":758,"objectID":20919,"name":"2001.0024","ext":"jpg","linkID":"2001.0024","typeDesc":"Still Image","description":null,"displayDescription":null,"transcript":null,"youtube":null,"tourMarker":null},{"id":1977,"mediaID":98365,"objectID":20919,"name":"2001.0024.001","ext":"mp3","linkID":"2001.0024.001","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Ear for Art","displayDescription":"Audio Tour \u2013 Ear for Art","transcript":"Were the candles on the sculpture ever lit? Although the candles on this chandelier-like sculpture may have been lit, they were not the main source of wax in this sculpture. The artist Petah Coyne used specially formulated wax to make her sculptures so they would be strong and durable.","youtube":null,"tourMarker":null},{"id":1975,"mediaID":49098,"objectID":20919,"name":"2001.0024.002","ext":"mp3","linkID":"2001.0024.002","typeDesc":"Sound Recording","description":"Didactic \u2013 Art Minute","displayDescription":"Didactic \u2013 Art Minute","transcript":"I'm David Cateforis with another Art Minute from the Spencer Museum of Art. Looming in the corner of the Spencer's contemporary gallery is a curious untitled sculpture by the American artist, Petah Coyne. Suspended from the ceiling, it resembles a melting white chandelier, a spiky wedding dress, or a snow-laden evergreen tree. The unusual format and sheer size of Coyne's work draw you closer and its intricate character invites careful examination. But you don't want to get too close, because the sculpture seems very delecate. Spindly points reach out from the central mass, like lacy white fingers that might break off. The artist has dripped white wax over a chicken-wire armature to achieve the appearance of a frosted pretzel. From up close you can even see dozens of candle stumps and imagine how the artist created the sugar coated effect. You might also notice the layers of cable coiled around the central core of the sculpture which serve as a sort of waistline for this alien figure. Perhaps the sculpture is not as delecate as it first appeared to be. Underneath the elegant white satin sleeve that covers its dangling support must be a fairly heafty chain. With thanks to Karen Gerety Folk for her text, from the Spencer Museum of Art, I\u2019m David Cateforis.","youtube":null,"tourMarker":null},{"id":1979,"mediaID":119832,"objectID":20919,"name":"2001.0024.003","ext":"mp3","linkID":"2001.0024.003","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"This piece is called Untitled #751 and is made by Petah Coyne. 751 is a sculpture made out of wax and steel. It was made by making a steel frame of the original design, then they layered wax over it, hardened the wax, then layered more over until it was enough wax to give it its look. Once they did that, they had hung it from a metal chain from the ceiling. The artist, Petah Coyne, has experimented with many different materials to sculpt with, including chicken wire, hay, wood, wax, religious symbols, sand, dry wall, and taxidermy animals just to name a few. The sculptures that she makes are often very fragile and hard to move, so they are made where they were being kept at. I find that this sculpture makes me think of winter and snow. It probably causes that because the sculpture is all white and it tries to look like a snowflake by being mostly air and trying to look like it could float. Another thing that may come to your mind is glazed pretzels, as much as you may want to eat it though it is not edible. This sculpture was made to represent an emotion, so try to see what emotion you think it is. Petah Coyne is known for making sculptures to represent some type of emotion and making it out of almost anything covered in wax. These statues that she makes are made to be some sort of emotion and are always out of the ordinary. She became an artist in the late 1980s and since then she has been making pieces of art that are always abnormal. 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A highlight of the Spencer\u2019s Asian collection is an earthenware warrior figure from Japan that is over 1500 years old. Known as a Haniwa figure, it was used to decorate a mounded tomb in the Kofun Period, which lasted from the mid third century to the early eighth century of the common era. In fact, Kofun means \u201cold tomb,\u201d and thus the tombs provide the name for this historical period. Haniwa literally means \u201cclay ring\u201d, and the Spencer\u2019s Haniwa figure has a circular base, which was likely pushed into the ground to secure it. Rendered in a simplified style, the Spencer\u2019s thirty-one inch tall warrior has a sword on his belt and a quiver of arrows on his back, signifying that he probably served as a \u201cguardian.\u201d But Haniwa also included images of family members, domestic animals, possessions, and buildings. Throughout the Kofun Period, Haniwa figures appeared atop the tombs of Japanese aristocrats. 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Goseyun has explained that he intends his sculptures to be reflections of past mysteries, and a reminder of the need for balance, of living harmoniously with nature. The Water Carrier was made from bronze, a permanent material that will last hundreds of years. This work signifies the importance of water to all living things.","youtube":null,"tourMarker":"Campus Sculpture Tour"},{"id":515,"mediaID":114945,"objectID":42659,"name":"2009.0106.002","ext":"mp3","linkID":"2009.0106.002","typeDesc":"Sound Recording","description":"Audio Tour \u2013 Bulldog Podcast","displayDescription":"Audio Tour \u2013 Bulldog Podcast","transcript":"When I look at Craig Dan Goseyun\u2019s \u201cWater Carrier\u201d sculpture, for some strange reason, I feel soothed. This well-rounded, interesting sculpture stands 8 feet tall outside of Spooner hall and was dedicated by Goseyun for its centennial. Goseyun was born in Honolulu, Hawaii in 1960 and when in grade school, developed a major interest in art. 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Tiny clusters of yellow grass cover the ground, the pebbles move under the child's callused feet. The branches of the tall flat trees emerge in sickly green leaves. Her clothing is tattered and torn, and the scalding summer air slowly burns her dry throat, yet she walks on. This girl lives in a 3rd world country, and makes this journey every day. She walks miles every hour and ventures far for the water that will soothe her stinging throat. She is the Water Carrier, unable to escape from these duties, yet so unwilling to continue, and only the calming sound of the rushing stream moves the girl forward; without it, her dying throat would never cool.\r\nCraig Dan Goseyun is Native American, and has a strong connection with nature. His father was in the Air Force and traveled often. As a result of frequent moving, Craig Goseyun was born in Hawaii. When his father went overseas to Vietnam, his family moved to the San Carlos Apache Reserve. 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