tag:blogger.com,1999:blog-52305494211678067022024-02-28T15:43:44.708-08:00Lane Banks geometric artLane Bankshttp://www.blogger.com/profile/16269462901384135461noreply@blogger.comBlogger21125tag:blogger.com,1999:blog-5230549421167806702.post-50840783830423883982023-08-20T14:09:00.000-07:002023-08-20T14:09:12.191-07:00Texas Artists Exhibition - Beeville Art Museum, August 5-26, 2023<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFrE4UWur_06xSy1zOyuJ7isIrszwroVEar9SXHPvLD5ayzxwaZ-60p0S1j0lFTime1ogB13Ay_ontOEWsaEEFTBUNQLuweBYwvKms1O8XRU8c0wi2PK0wthJr5PGa0TH9_qtSyMswPiuQ_EIs2CdxENvHOV3LRWghs5D7lgAl6czx5Y_wctEQVm4F0QI/s1920/TAE1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1440" data-original-width="1920" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFrE4UWur_06xSy1zOyuJ7isIrszwroVEar9SXHPvLD5ayzxwaZ-60p0S1j0lFTime1ogB13Ay_ontOEWsaEEFTBUNQLuweBYwvKms1O8XRU8c0wi2PK0wthJr5PGa0TH9_qtSyMswPiuQ_EIs2CdxENvHOV3LRWghs5D7lgAl6czx5Y_wctEQVm4F0QI/w430-h322/TAE1.jpg" width="430" /></a></div><br />Lane Bankshttp://www.blogger.com/profile/16269462901384135461noreply@blogger.com0tag:blogger.com,1999:blog-5230549421167806702.post-46108919520736419892023-07-02T18:47:00.000-07:002023-07-02T18:47:00.615-07:00University of Houston - Clear Lake Assemblage exhibition<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Ak8AhoNkx7wlYnjEIBMG15ZiAJvMb08_Kv-yOwzT9sz65iGoi1bm5Lp-8jdfx82vL5yo_xpnJdnJRkkrybyj8kQ6289umY8PXRkRm3ZOl4NddYPPieQtoPodMg6a8adVoV9cAzuEdNry1ZYVsqDp6iHKSX1yZ7w60hI-9d7ezFuZ-V6ZtBM5IkXfWqQ/s4032/uh%20clear%20lake2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3024" data-original-width="4032" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Ak8AhoNkx7wlYnjEIBMG15ZiAJvMb08_Kv-yOwzT9sz65iGoi1bm5Lp-8jdfx82vL5yo_xpnJdnJRkkrybyj8kQ6289umY8PXRkRm3ZOl4NddYPPieQtoPodMg6a8adVoV9cAzuEdNry1ZYVsqDp6iHKSX1yZ7w60hI-9d7ezFuZ-V6ZtBM5IkXfWqQ/w519-h390/uh%20clear%20lake2.jpg" width="519" /></a><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7C9YSPtnJYUIcZGdiAhBXvn9xswl6Xw9cQoxRGHVE7e76rdO0zqwYfox2hJZJfhoQ5zyLGQlx9stLpZ1xOqm_jUudOH_oddlgMxOsFa95cGMu6YnxisAYuJkB-BKTOTSq6abeQEj-0eQadH95CSYGj8PgQMYGOTPgDwhhhZajh1UEVPjeDx8_3PB0wxI/s4032/uh%20clear%20lake3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3024" data-original-width="4032" height="387" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7C9YSPtnJYUIcZGdiAhBXvn9xswl6Xw9cQoxRGHVE7e76rdO0zqwYfox2hJZJfhoQ5zyLGQlx9stLpZ1xOqm_jUudOH_oddlgMxOsFa95cGMu6YnxisAYuJkB-BKTOTSq6abeQEj-0eQadH95CSYGj8PgQMYGOTPgDwhhhZajh1UEVPjeDx8_3PB0wxI/w517-h387/uh%20clear%20lake3.jpg" width="517" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">May 22 - June 23, 2023</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://www.uhcl.edu/art-gallery/">Art Gallery | University of Houston-Clear Lake (uhcl.edu)</a></div><p></p>Lane Bankshttp://www.blogger.com/profile/16269462901384135461noreply@blogger.com0tag:blogger.com,1999:blog-5230549421167806702.post-2786694012691698552022-08-17T16:12:00.001-07:002022-08-17T16:12:18.264-07:00squares 20 x 20<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjW1JSn53gzOd78W9zZ7z9Ghc8n55n_sejp3KaaSr4AghWHR7gHcqBRc3fJx7sniCObMAbyn8y1Ic83g63lcUG66E1uPOze_3G0aJvtSPltnXdwFeKRw6pc4g2O4DqVQwFQQJcdnGWEpxXqzKZ8kXTOsMZ2z8tQn2BqYDkcWHt1LSTiKf4UK0L2pTzV" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1461" data-original-width="1476" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjW1JSn53gzOd78W9zZ7z9Ghc8n55n_sejp3KaaSr4AghWHR7gHcqBRc3fJx7sniCObMAbyn8y1Ic83g63lcUG66E1uPOze_3G0aJvtSPltnXdwFeKRw6pc4g2O4DqVQwFQQJcdnGWEpxXqzKZ8kXTOsMZ2z8tQn2BqYDkcWHt1LSTiKf4UK0L2pTzV" width="242" /></a><span style="text-align: left;">Untitled2020.10, acrylic on canvas, 20 x 20</span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjlhldm9oW9ac6ahBKtmWmYjmHfOg0i3vyLreo02lNhNRS7IhuW1THXlMV7vKcogLaKswON4cAa8FnE4jnYHnPIP8bHVV1F0sA9Y4Ehj3U8HiI7MJ9V9rR-JtXnfQqk1nRGBJYeY4DsvgtSsAi3bo1tN9txN_9727jJzO7Z5FppZ2Q6WluCjcx4v30L" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1496" data-original-width="1484" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjlhldm9oW9ac6ahBKtmWmYjmHfOg0i3vyLreo02lNhNRS7IhuW1THXlMV7vKcogLaKswON4cAa8FnE4jnYHnPIP8bHVV1F0sA9Y4Ehj3U8HiI7MJ9V9rR-JtXnfQqk1nRGBJYeY4DsvgtSsAi3bo1tN9txN_9727jJzO7Z5FppZ2Q6WluCjcx4v30L" width="238" /></a><span style="text-align: left;">Untitled2020.11, acrylic on canvas, 20 x 20</span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh6f49u_z302_LO-tvYP07RJiNTnAFw7o2772WzeZD1eR2WoQgaUKfM8fFodvClKpYQU65o_sKiiPq9YH1EB_G8jD3sUry8PAKDABv9TCW6ARHd4poUlIoN4cjMRr7XezzO6isD6neR3R63rwf3c0hYt71O64-OW82DIuaK63zziMyEDA6pijSA5Ggs" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1491" data-original-width="1486" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEh6f49u_z302_LO-tvYP07RJiNTnAFw7o2772WzeZD1eR2WoQgaUKfM8fFodvClKpYQU65o_sKiiPq9YH1EB_G8jD3sUry8PAKDABv9TCW6ARHd4poUlIoN4cjMRr7XezzO6isD6neR3R63rwf3c0hYt71O64-OW82DIuaK63zziMyEDA6pijSA5Ggs" width="239" /></a><span style="text-align: left;">Untitled2020.12, acrylic on canvas, 20 x 20</span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjHUAHOJhYLUchvkpeXndN6wAHqkuKWeyRrtO2ym6NwbmZSTseiuacJbHb7YACTE3xUS5_mArBrMGgc6KPnj3eNqzZElRTP58sgSxQJ4UJ1lgbAFUjWMf2qeCvPDZC-EgrQJIy_VtOE3xnud_eQUwoR3BMGs71A3dnESkq9Q2jrORYRP4-XRheloJ-M" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1840" data-original-width="1845" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjHUAHOJhYLUchvkpeXndN6wAHqkuKWeyRrtO2ym6NwbmZSTseiuacJbHb7YACTE3xUS5_mArBrMGgc6KPnj3eNqzZElRTP58sgSxQJ4UJ1lgbAFUjWMf2qeCvPDZC-EgrQJIy_VtOE3xnud_eQUwoR3BMGs71A3dnESkq9Q2jrORYRP4-XRheloJ-M" width="241" /></a><span style="text-align: left;">Untitled2020.13, acrylic on canvas, 20 x 20</span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhOCOdQlyDQLwTfgti5ETYtzVE1e_vjRpEaWVvm_7Y1A6GJV7MkPPzgGfsUPRcEXfbqZTOC9H-VWSTMqKc7gHDFQb0TJoRcb_hwCeyEMMbZTIW5YSIB9shl1QYXTaD-iRiGqHcqGEfbTWRdB9Shg7xdbkEKFZrvBHChhl17HAyfjQ_r7MchJWcgcg7n" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1679" data-original-width="1677" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEhOCOdQlyDQLwTfgti5ETYtzVE1e_vjRpEaWVvm_7Y1A6GJV7MkPPzgGfsUPRcEXfbqZTOC9H-VWSTMqKc7gHDFQb0TJoRcb_hwCeyEMMbZTIW5YSIB9shl1QYXTaD-iRiGqHcqGEfbTWRdB9Shg7xdbkEKFZrvBHChhl17HAyfjQ_r7MchJWcgcg7n" width="240" /></a><span style="text-align: left;">Untitled2020.14, acrylic on canvas, 20 x 20</span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjT9bgiuiJ2NLPk9X9rVXfQmCFZYlq7QEI9qD028pDFUiTpgs0SGeW3RpsqdDw-2FAU6hTRjn_ObS6C_iziH3oPfq1YR0RQcqai2Vjz4I6Bw6KeE6OxVNMuuWSXK9wp7sm7ZL6VB3xvyAbJdlMcIU_8Ob6aG0ZTDAVe8xFYO7kdoh6ci9o5Jrvu_lV1" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1623" data-original-width="1617" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjT9bgiuiJ2NLPk9X9rVXfQmCFZYlq7QEI9qD028pDFUiTpgs0SGeW3RpsqdDw-2FAU6hTRjn_ObS6C_iziH3oPfq1YR0RQcqai2Vjz4I6Bw6KeE6OxVNMuuWSXK9wp7sm7ZL6VB3xvyAbJdlMcIU_8Ob6aG0ZTDAVe8xFYO7kdoh6ci9o5Jrvu_lV1" width="239" /></a><span style="text-align: left;">Untitled2020.15, acrylic on canvas, 20 x 20</span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjveB_kucUtu0QECldzZZmQeVQxtcLDdsJvl7S3mvjRxXestsxOlNMoyjqNr8oV5LnSb6gcumTU-wic0jZTjgCh6BpU6Pj_-jPTQCIY9lSiRj9zcrUXd8tfSXla6wVy7gYGncvIWvRoeoHi_vsHmITCY7fZsmEs4vYHzia0IpJo6QMwis1JyuFo9yvI" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1693" data-original-width="1701" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjveB_kucUtu0QECldzZZmQeVQxtcLDdsJvl7S3mvjRxXestsxOlNMoyjqNr8oV5LnSb6gcumTU-wic0jZTjgCh6BpU6Pj_-jPTQCIY9lSiRj9zcrUXd8tfSXla6wVy7gYGncvIWvRoeoHi_vsHmITCY7fZsmEs4vYHzia0IpJo6QMwis1JyuFo9yvI" width="241" /></a><span style="text-align: left;">Untitled2020.16, acrylic on canvas, 20 x 20</span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjk9cptF3_jsr_pTM3NP6V3WyCHBr3wjRZoH_4D-YE5UDVwyggd0FHzmGCyoAVnrq-mSLL-2bdsAyLd4LUwlJDJYYmYti8yAtwC46cVTjHT08E2drhsV9dr8ge_wHfotIvdMY9cREb626bywgxQ_tEy6f1Q4JLXbcWELyMwwoFkoGXpOL8-mWH8TorH" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1675" data-original-width="1697" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjk9cptF3_jsr_pTM3NP6V3WyCHBr3wjRZoH_4D-YE5UDVwyggd0FHzmGCyoAVnrq-mSLL-2bdsAyLd4LUwlJDJYYmYti8yAtwC46cVTjHT08E2drhsV9dr8ge_wHfotIvdMY9cREb626bywgxQ_tEy6f1Q4JLXbcWELyMwwoFkoGXpOL8-mWH8TorH" width="243" /></a><span style="text-align: left;">Untitled2020.17, acrylic on canvas, 20 x 20</span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjTqUx3xc1nsR3QteAqfiHGKqlNvRo4eGdNY7m_TyRPv97WgAJtR6b1UsrneQpjhrzB0R3G6BGfQjmeXGVVaNrjrQVadBdGdp5ivZ7hdi2Xf-HzNvysBirenR2V7eHd2SwFAbSwin8FuHLQIRYrUvuFQcIItcqFs2AGdT7qoTo4kiqUo0nSz48NBvQr" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1812" data-original-width="1837" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjTqUx3xc1nsR3QteAqfiHGKqlNvRo4eGdNY7m_TyRPv97WgAJtR6b1UsrneQpjhrzB0R3G6BGfQjmeXGVVaNrjrQVadBdGdp5ivZ7hdi2Xf-HzNvysBirenR2V7eHd2SwFAbSwin8FuHLQIRYrUvuFQcIItcqFs2AGdT7qoTo4kiqUo0nSz48NBvQr" width="243" /></a><span style="text-align: left;">Untitled2020.18, acrylic on canvas, 20 x 20</span></div><br /></span></div></span></div><br /></span></div><br /></span></div><br /></span></div></span></div><br /></span></div><br /></span></div><p></p>Lane Bankshttp://www.blogger.com/profile/16269462901384135461noreply@blogger.com0tag:blogger.com,1999:blog-5230549421167806702.post-79133160692809235372019-11-15T20:07:00.002-08:002019-11-15T20:07:44.847-08:00Richland College exhibition 2019<div class="separator" style="clear: both; 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<br />Lane Bankshttp://www.blogger.com/profile/16269462901384135461noreply@blogger.com0tag:blogger.com,1999:blog-5230549421167806702.post-39526966565633689512014-07-02T10:22:00.000-07:002015-05-28T11:04:21.603-07:00Neiman Marcus commissions<div class="separator" style="clear: both; text-align: center;">
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This pair of paintings was commissioned for Neiman Marcus at the Shops at Willow Bend Mall in Plano, Texas in 2002. They are still hanging in their original location, at the second floor mall entrance.</div>
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This pair of paintings is installed at Neiman Marcus North Park inside the store. It was originally one piece made in two panels, and was taken apart and separated at some point.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbZ7H8G-MnYN8iyoCd-NPW175wQ9rVb6n3m2SdhaYe6P33hDm930MzyUCDEdyEbXyUgIau36fOlfN978IFmZ7BE2VgOpe20ma_9V5aaD00_g_Lj7oQ8YhRrGjdAzYZ6R9VqX5fIllpKO0/s1600/a+1178.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" bua="true" closure_lm_188666="null" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbZ7H8G-MnYN8iyoCd-NPW175wQ9rVb6n3m2SdhaYe6P33hDm930MzyUCDEdyEbXyUgIau36fOlfN978IFmZ7BE2VgOpe20ma_9V5aaD00_g_Lj7oQ8YhRrGjdAzYZ6R9VqX5fIllpKO0/s1600/a+1178.jpg" width="640" /></a></div>
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Lane Bankshttp://www.blogger.com/profile/16269462901384135461noreply@blogger.com0tag:blogger.com,1999:blog-5230549421167806702.post-68742401944133073232013-08-05T17:34:00.000-07:002013-08-05T17:49:36.760-07:00diagonals<br />
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This series explored how horizontal and vertical elements would behave in a format in which they are not parallel to the frame.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV3MbZIh5BZk0Bw7BI0HUEzcF3ju8gmm3LMOvHcQWIBB2HnjfTWY5uQW2YThP4EwDItvabjOkqhAuHLAfAW7c5EODWSlH2tdxdPm6wHNDEywZ88lQKV0jYdFWI7N8fXaxTdQOsv6bl-j8/s1600/Untitled2009.5,+acrylic+on+canvas,+40x40.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="636" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV3MbZIh5BZk0Bw7BI0HUEzcF3ju8gmm3LMOvHcQWIBB2HnjfTWY5uQW2YThP4EwDItvabjOkqhAuHLAfAW7c5EODWSlH2tdxdPm6wHNDEywZ88lQKV0jYdFWI7N8fXaxTdQOsv6bl-j8/s640/Untitled2009.5,+acrylic+on+canvas,+40x40.jpg" width="640" /></a></div>
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Untitled2009.5, acrylic on canvas, 40 x 40<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigkcsxzqpziny5j3PCjvGqEVO6Nc6R3PRUSPG7yRNt-VwwcNIDVeWmNU55zEmxFx_r9s9gDpqap7TbplCvgFFLjusufF6iSRzMfcgxQV6qH0Q6kCVQLuFaHandg1JWf9AqV_ro5IOKc-k/s1600/Untitled2009.20,+acrylic+on+canvas,+40x40.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="626" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigkcsxzqpziny5j3PCjvGqEVO6Nc6R3PRUSPG7yRNt-VwwcNIDVeWmNU55zEmxFx_r9s9gDpqap7TbplCvgFFLjusufF6iSRzMfcgxQV6qH0Q6kCVQLuFaHandg1JWf9AqV_ro5IOKc-k/s640/Untitled2009.20,+acrylic+on+canvas,+40x40.jpg" width="640" /></a></div>
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Untitled2009.20, acrylic on canvas, 40 x 40<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk921pHOnxHEEDFutU0vfHy7mIE3sbypSwwxBi-ynWv67lEp3189yLqE7tvGbXRt4aVvbmDlaky6lbuBOt941HrM5GRbP_miKwtgLB1W0xQQ3_u70537oJ-GJ7jsIXL38Woxhy1sNaO6U/s1600/Untitled2009.21,+acrylic+on+canvas,+40x40.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="626" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk921pHOnxHEEDFutU0vfHy7mIE3sbypSwwxBi-ynWv67lEp3189yLqE7tvGbXRt4aVvbmDlaky6lbuBOt941HrM5GRbP_miKwtgLB1W0xQQ3_u70537oJ-GJ7jsIXL38Woxhy1sNaO6U/s640/Untitled2009.21,+acrylic+on+canvas,+40x40.jpg" width="640" /></a></div>
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Untitled2009.21, acrylic on canvas, 40 x 40<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieE-YmlR73DHNaFOvujlMQYM0WN6Xb9UAu-liMwBfXrDuX8LZfikUfkbVaKR7VERkLy0UsoiWD_IED7-AWgCxp5bvI2gf5JvyCLv2asUF6HEBm9_sAu0JokdFymbdmJo9v0guBMlS6dVQ/s1600/Untitled2009.22,+acrylic+on+canvas,+40x40.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="636" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieE-YmlR73DHNaFOvujlMQYM0WN6Xb9UAu-liMwBfXrDuX8LZfikUfkbVaKR7VERkLy0UsoiWD_IED7-AWgCxp5bvI2gf5JvyCLv2asUF6HEBm9_sAu0JokdFymbdmJo9v0guBMlS6dVQ/s640/Untitled2009.22,+acrylic+on+canvas,+40x40.jpg" width="640" /></a></div>
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Untitled2009.22, acrylic on canvas, 40 x 40<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEt8hMyQrFBKDU8wCiwC44m0Fq169efLEMpmPlLV0_93oS98bUVVDmydxrm7mONLeLcqnUDxksTYFDWO2SvPhWAThhP3isDulYPztJ_c33ZdJWYSTWSrzs5EmnDjUJCAJv1f7do6t6Vxs/s1600/Untitled2009.23,+acrylic+on+canvas,+40x40.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="630" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEt8hMyQrFBKDU8wCiwC44m0Fq169efLEMpmPlLV0_93oS98bUVVDmydxrm7mONLeLcqnUDxksTYFDWO2SvPhWAThhP3isDulYPztJ_c33ZdJWYSTWSrzs5EmnDjUJCAJv1f7do6t6Vxs/s640/Untitled2009.23,+acrylic+on+canvas,+40x40.jpg" width="640" /></a></div>
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Untitled2009.23, acrylic on canvas, 40 x 40<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzoBaZn_XnFmqh_HfA7pWD6SzzR-Z-UjjsrU_gY9q6FcGscNCl7c3K7m2zy_KK682Vd7r05I_dcPaSb_nviP8FZvDpbsovtwMV9fdFT-lLOs-Fu_OZ9N7wUr-GUtLH-oG2f_slOmbhm3A/s1600/Untitled2009.24,+acrylic+on+canvas,+40x40.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzoBaZn_XnFmqh_HfA7pWD6SzzR-Z-UjjsrU_gY9q6FcGscNCl7c3K7m2zy_KK682Vd7r05I_dcPaSb_nviP8FZvDpbsovtwMV9fdFT-lLOs-Fu_OZ9N7wUr-GUtLH-oG2f_slOmbhm3A/s640/Untitled2009.24,+acrylic+on+canvas,+40x40.jpg" width="630" /></a></div>
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Untitled2009.24, acrylic on canvas, 40 x 40Lane Bankshttp://www.blogger.com/profile/16269462901384135461noreply@blogger.com0tag:blogger.com,1999:blog-5230549421167806702.post-14193398068476648572013-08-03T09:56:00.000-07:002013-08-03T09:58:23.081-07:00paintings 2009 - 2010<br />
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This series incorporates a large amount of unpainted canvas.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFWUqA-2KXRhQ07Ig-mcMJ1tZB5Vhdwfzn0NpPn47viHtqsTgRADM7aJo9TeZ0IULMOH4YMWX44ZiDxK26iLrJGmcq2CQ4CALdhg0uSQ1gVo2IHw5Axcy6D-zc5d4Auq62DR5g6d26POU/s1600/Untitled2009.3,acrylic+on+canvas,30+x+40..jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="484" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFWUqA-2KXRhQ07Ig-mcMJ1tZB5Vhdwfzn0NpPn47viHtqsTgRADM7aJo9TeZ0IULMOH4YMWX44ZiDxK26iLrJGmcq2CQ4CALdhg0uSQ1gVo2IHw5Axcy6D-zc5d4Auq62DR5g6d26POU/s640/Untitled2009.3,acrylic+on+canvas,30+x+40..jpg" width="640" /></a></div>
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Untitled2009.3,acrylic on canvas,30 x 40.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSJCznz57xmQ7Gs_u1ILduOkSu90Pjo8yBb-yYNUGOV7T0Xx7JrYKC_1J1r325BAqLJcVgARYOXHCyZi2XGuCvv-iibzfSWOCRWqyplUt6EU4timYTWOvaE-o15jVUCd0Q5GHX8yV3Z6k/s1600/Untitled2009.4,acrylic+on+canvas,30x48..jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSJCznz57xmQ7Gs_u1ILduOkSu90Pjo8yBb-yYNUGOV7T0Xx7JrYKC_1J1r325BAqLJcVgARYOXHCyZi2XGuCvv-iibzfSWOCRWqyplUt6EU4timYTWOvaE-o15jVUCd0Q5GHX8yV3Z6k/s640/Untitled2009.4,acrylic+on+canvas,30x48..jpg" width="640" /></a></div>
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Untitled2009.4,acrylic on canvas,30x48.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1F0IUQtr4zWZlPO-SFxvR3FYI_87d5D3Xle0u7-jjTvzDXS80c9UXQnBrbZ1MnwpDpg9JpFmG9Se4wHp_ZyO7AzN7OWD2_n5EzyFLC82aASYbI0yBEOVF3iChE9Jq-U3Or01NQmvCubU/s1600/Untitled2009.10,acrylic+on+canvas,34+x+34.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1F0IUQtr4zWZlPO-SFxvR3FYI_87d5D3Xle0u7-jjTvzDXS80c9UXQnBrbZ1MnwpDpg9JpFmG9Se4wHp_ZyO7AzN7OWD2_n5EzyFLC82aASYbI0yBEOVF3iChE9Jq-U3Or01NQmvCubU/s640/Untitled2009.10,acrylic+on+canvas,34+x+34.jpg" width="634" /></a></div>
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Untitled2009.10,acrylic on canvas,34 x 34<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEkkUYLb3clbWo4gdbVA9tKeZvkbAL1nLhSLyhWIvV3qcGOvi3-LRSqsGSBLTLXty58kpmulF3-S2mxkPY38aDMXykFIC9JbO16aIuvQvbitOO1vcG3fvvnAqY7giIZQbQZqo6EGNCx8Q/s1600/Untitled2009.11,+acrylic+on+canvas,+34+x+34.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEkkUYLb3clbWo4gdbVA9tKeZvkbAL1nLhSLyhWIvV3qcGOvi3-LRSqsGSBLTLXty58kpmulF3-S2mxkPY38aDMXykFIC9JbO16aIuvQvbitOO1vcG3fvvnAqY7giIZQbQZqo6EGNCx8Q/s640/Untitled2009.11,+acrylic+on+canvas,+34+x+34.jpg" width="636" /></a></div>
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Untitled2009.11, acrylic on canvas, 34 x 34<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfT15uwhdfKCsa-RQhxNcTZk9knTkwRc3ggsUAzNg12ExupPwY2vTJ-z7DtIxW09QElXDeHv_0nN43XweF764gAWBYoHbFaYGm_AdyobsNX3FM1f00ypSRfe-vFXW137uI5BbNVZv7nFQ/s1600/Untitled2009.29,+acrylic+on+canvas,+30+x+30.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfT15uwhdfKCsa-RQhxNcTZk9knTkwRc3ggsUAzNg12ExupPwY2vTJ-z7DtIxW09QElXDeHv_0nN43XweF764gAWBYoHbFaYGm_AdyobsNX3FM1f00ypSRfe-vFXW137uI5BbNVZv7nFQ/s640/Untitled2009.29,+acrylic+on+canvas,+30+x+30.jpg" width="636" /></a></div>
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Untitled2009.29, acrylic on canvas, 30 x 30<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8fwc2VwHbsKzLGa1293eX8KNObpnPV3mNFCb4bDcfP5Vk0f4qm9lTmTKZgFLDlYvSq1y-6DhGpVDiIaXdoPEirFaHC9b0BBmA-Gtn2wUPkHvNP_WD8l0FnAvy4aSfkKSnJuwBImoNeAk/s1600/Untitled2009.30,+acrylic+on+canvas,+30+x+30.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8fwc2VwHbsKzLGa1293eX8KNObpnPV3mNFCb4bDcfP5Vk0f4qm9lTmTKZgFLDlYvSq1y-6DhGpVDiIaXdoPEirFaHC9b0BBmA-Gtn2wUPkHvNP_WD8l0FnAvy4aSfkKSnJuwBImoNeAk/s640/Untitled2009.30,+acrylic+on+canvas,+30+x+30.jpg" width="636" /></a></div>
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Untitled2009.30, acrylic on canvas, 30 x 30<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoQzuG8In6fhsJa3JSrPFBevHGuikszAJLLs5dL2zeg2vOu7iV42JKZNuflBjZig7bMom29NX51itfCwGAF2DxNxYO_u0R7fxNujWoHSSgJzJWntNaXYvqE3ohm5dVUQJV_DttMd4huGs/s1600/Untitled2009.31,+acrylic+on+canvas,+30+x+30.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoQzuG8In6fhsJa3JSrPFBevHGuikszAJLLs5dL2zeg2vOu7iV42JKZNuflBjZig7bMom29NX51itfCwGAF2DxNxYO_u0R7fxNujWoHSSgJzJWntNaXYvqE3ohm5dVUQJV_DttMd4huGs/s640/Untitled2009.31,+acrylic+on+canvas,+30+x+30.jpg" width="632" /></a></div>
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Untitled2009.31, acrylic on canvas, 30 x 30<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHM_Uv-bhkdipoxmHzIMW2i92RldStPeDCnbUdRcsUS1El0dlluPyP4gBwGnXRIAl7imkL_uSqC5AD86aZ7nODZTt-IOtJubBmN4SEjQqQ-967nx5kRM7X3ZkZDHsVdueFLVv70TscOHU/s1600/Untitled2009.32,+acrylic+on+canvas,+30+x+30.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHM_Uv-bhkdipoxmHzIMW2i92RldStPeDCnbUdRcsUS1El0dlluPyP4gBwGnXRIAl7imkL_uSqC5AD86aZ7nODZTt-IOtJubBmN4SEjQqQ-967nx5kRM7X3ZkZDHsVdueFLVv70TscOHU/s640/Untitled2009.32,+acrylic+on+canvas,+30+x+30.jpg" width="636" /></a></div>
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Untitled2009.32, acrylic on canvas, 30 x 30<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4QEqouWH-P7KQ8bXfeKcKwFW9RfgKckDWUEjywIOeGN1KId_tQSE0rnNzfmDZIa_oUXbnCOMclEx26xORXIb5MHtsYQgpVZdqljz9DcEUrY2WfXNQotXCpLGP-i-tq0dO53AKpQONQo0/s1600/Untitled2009.33,+acrylic+on+canvas,+30+x+30.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4QEqouWH-P7KQ8bXfeKcKwFW9RfgKckDWUEjywIOeGN1KId_tQSE0rnNzfmDZIa_oUXbnCOMclEx26xORXIb5MHtsYQgpVZdqljz9DcEUrY2WfXNQotXCpLGP-i-tq0dO53AKpQONQo0/s640/Untitled2009.33,+acrylic+on+canvas,+30+x+30.jpg" width="634" /></a></div>
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Untitled2009.33, acrylic on canvas, 30 x 30<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3V4xzIob50PEo_C5ZFtpB_44K6DYp4aqnrJIeGDHEVhRjGPZBDBL1ITVk54Fg_T3x7rAfP8b4-Myn6PbYIkFAHaYQUCpFu6yv8LGjebjrxbuWfeJljUhtkM1Ks5vibBLDoKGTlZLQL6I/s1600/Untitled2009.34,+acrylic+on+canvas,+30+x+30.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3V4xzIob50PEo_C5ZFtpB_44K6DYp4aqnrJIeGDHEVhRjGPZBDBL1ITVk54Fg_T3x7rAfP8b4-Myn6PbYIkFAHaYQUCpFu6yv8LGjebjrxbuWfeJljUhtkM1Ks5vibBLDoKGTlZLQL6I/s640/Untitled2009.34,+acrylic+on+canvas,+30+x+30.jpg" width="634" /></a></div>
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\Untitled2009.34, acrylic on canvas, 30 x 30<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGe7a8931SShq8NyGK3UNmE4lcoQLC-lpjoHBbbzoilmJq4cY6UF1PeMM_uhGYcAyZL0Rss9Cx6z5ZdW6EkO5S_kDuPVBjy-i0IlNCTrnRRRPjJC2WsCHrU9PlBO1n-Lk4f7jnLqSVZV0/s1600/Untitled2009.35,+acrylic+on+canvas,+30+x+30.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGe7a8931SShq8NyGK3UNmE4lcoQLC-lpjoHBbbzoilmJq4cY6UF1PeMM_uhGYcAyZL0Rss9Cx6z5ZdW6EkO5S_kDuPVBjy-i0IlNCTrnRRRPjJC2WsCHrU9PlBO1n-Lk4f7jnLqSVZV0/s640/Untitled2009.35,+acrylic+on+canvas,+30+x+30.jpg" width="640" /></a></div>
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Untitled2009.35, acrylic on canvas, 30 x 30<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhacLULeF4Y9k1RcrgalhFpI5F-eRYuDNxHmDX5eX_W7Qg1E9IEs67zo1Zp3TSTEJ8OqsjJGaOns4nSBT5mxGF5xM1FtFq8kucSva6ydTTU7f-zhb9XpQdavAmjGR4TlY92ccOEt9hI4js/s1600/Untitled2009.36,+acrylic+on+canvas,+30+x+30.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="630" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhacLULeF4Y9k1RcrgalhFpI5F-eRYuDNxHmDX5eX_W7Qg1E9IEs67zo1Zp3TSTEJ8OqsjJGaOns4nSBT5mxGF5xM1FtFq8kucSva6ydTTU7f-zhb9XpQdavAmjGR4TlY92ccOEt9hI4js/s640/Untitled2009.36,+acrylic+on+canvas,+30+x+30.jpg" width="640" /></a></div>
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Untitled2009.35, acrylic on canvas, 30 x 30<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBQwGflBQOLZkwuamf5W2sohGaUhB06tGuJqnYgpB7vb6D7rnut1E0Ww723k9v-XpjFo0ANIzM323m5OpbwCDngeD4oDefxp-hmP0jHD1fmD3U2j3bWF24qKNobrTSpv03asTAg3TnFQc/s1600/Untitled2010.1,+acrylic+on+canvas,+30+x+30.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBQwGflBQOLZkwuamf5W2sohGaUhB06tGuJqnYgpB7vb6D7rnut1E0Ww723k9v-XpjFo0ANIzM323m5OpbwCDngeD4oDefxp-hmP0jHD1fmD3U2j3bWF24qKNobrTSpv03asTAg3TnFQc/s640/Untitled2010.1,+acrylic+on+canvas,+30+x+30.jpg" width="640" /></a></div>
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Untitled2010.1, acrylic on canvas, 30 x 30<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwKKuGxyKDcW7kV_MsdBixcPQ2gZN8e_CJRp8Fde8nt2cZ9okdpVT8q5etY1p8bJuyMSXexXNHfox-UyNnNEaHrC4u91nWxPBwzjLociMAXshtOBfD3d64Uua5VIsxzIKJgwedwhRRknw/s1600/Untitled2010.2,+acrylic+on+canvas,+30+x+30.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwKKuGxyKDcW7kV_MsdBixcPQ2gZN8e_CJRp8Fde8nt2cZ9okdpVT8q5etY1p8bJuyMSXexXNHfox-UyNnNEaHrC4u91nWxPBwzjLociMAXshtOBfD3d64Uua5VIsxzIKJgwedwhRRknw/s640/Untitled2010.2,+acrylic+on+canvas,+30+x+30.jpg" width="634" /></a></div>
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Untitled2010.2, acrylic on canvas, 30 x 30<br />
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Untitled2010.3, acrylic on canvas, 30 x 30<br />
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Untitled2010.4, acrylic on canvas, 30 x 30<br />
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Untitled2010.5, acrylic on canvas, 30 x 30<br />
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Untitled2010.6, acrylic on canvas, 30 x 30<br />
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Untitled2010.8, acrylic on canvas, 30 x 30<br />
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Untitled2010.9, acrylic on canvas, 30 x 30<br />
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Untitled2010.10, acrylic on canvas, 30 x 30<br />
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Untitled2010.11, acrylic on canvas, 30x30<br />
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<br />Lane Bankshttp://www.blogger.com/profile/16269462901384135461noreply@blogger.com0tag:blogger.com,1999:blog-5230549421167806702.post-34471056944157968992012-07-23T13:59:00.000-07:002013-05-24T08:59:10.077-07:00Love Field Airport Commission<br />
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As part of the Love Field Modernization Program, my work was commissioned to be placed in the East Ticketing Hall Tunnel. The work is made of poured in place terrazzo, and was installed in August, 2012. It is the main entrance to the new ticketing hall directly above.<br />
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The piece consists of eight concentric rectangles measuring 8.75 x 9 feet each. The rectangles are placed in sequence next to each other, and fill the entire tunnel, approximately 70 feet in length. Four colors are used in the four concentric bands: black, white, and two distinct grays. Each color is used once in each of the bands in each rectangle. Four of the rectangles have the same color throughout each band, and four have a vertical line dividing each rectangle to create further complexity in the color placements. The piece was designed so that it cannot be viewed all at once from any single viewpoint, as there is no position from which it can be seen from either end, in the middle of the tunnel, or above. The piece must be experienced over time as the passengers move through the tunnel, which makes the piece environmental rather than a simple image. This is partly made possible by the change in elevation of the floor itself, and by the long, narrow length of the space.<br />
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In the diagram below indicating the placement of rectangles and colors, the rectangles appear more horizontal than they are in the finished piece. The diagram was what I submitted originally when I proposed for another space in the modernization project with different proportions, although the color placements and number of rectangles were retained in the final design.<br />
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The piece was fabricated and installed by American Terrazzo.<br />
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<a href="http://www.lovefieldartprogram.com/">http://www.lovefieldartprogram.com/</a><br />
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<a href="http://www.americanterrazzo.com/">http://www.americanterrazzo.com</a><br />
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west entrance</div>
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east exit</div>
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detail at west entrance</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBCv7cAiO7u_ReLRFpYKPoZa6kJGKLVRILAeyS1XKFSq9k2W4YKsTd0LA3D9Xk5QmtRAx78w32kK2Z7vZuONdK8DL7rqkA1W2CKaPIXK6yTQjvS7pTs_NcfLzPSRFWhwrcW2ed5ack09U/s1600/love+field+commission+image.bmp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="510" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBCv7cAiO7u_ReLRFpYKPoZa6kJGKLVRILAeyS1XKFSq9k2W4YKsTd0LA3D9Xk5QmtRAx78w32kK2Z7vZuONdK8DL7rqkA1W2CKaPIXK6yTQjvS7pTs_NcfLzPSRFWhwrcW2ed5ack09U/s640/love+field+commission+image.bmp" width="640" /></a>Lane Bankshttp://www.blogger.com/profile/16269462901384135461noreply@blogger.com1tag:blogger.com,1999:blog-5230549421167806702.post-30587387076391647962011-12-14T15:21:00.004-08:002018-01-11T14:43:57.744-08:00installations<br />
<span style="font-family: Arial, Helvetica, sans-serif;">Concentric Squares, Lightwell Gallery, University of Oklahoma, October 9 - November 3, 2017</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Untitled 2015.5 at the 2017 Biennial, Geometric Museum, Dallas</span><br />
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Untitled2017.3 in Texas Artists Exhibition at the Beeville Art Museum, August 5-26, 2017.<br />
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Concentric Squares, Turner Art Gallery, Centenary College, Shreveport, October 19-November 24, 2015<br />
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Digital Geometrics, Geometric Museum, January 10 - March 30, 2014<br />
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Biennial - Origins In Geometry, Geometric Museum, July 19 - October 6, 2013<a href="https://www.blogger.com/editor/static_files/" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" cua="true" src="" /></a></div>
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Concentric Squares, Fort Worth Community Arts Center, January 6 - February 25, 2012.<br />
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<span style="font-size: small;">Geometric Work From Two Series - Brookhaven College Forum Gallery, September 1-28, 2011. </span><br />
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Derivatives: Origins In Geometry - Museum of Geometric and MADI Art, July 15 - October 2, 2011.<span style="font-size: x-small;"></span> </div>
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Geometry In Dallas - Museum Of Geometric And MADI Art, June 12 - September 6, 2009.</div>
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Lane Bankshttp://www.blogger.com/profile/16269462901384135461noreply@blogger.com0tag:blogger.com,1999:blog-5230549421167806702.post-36815148140855841202011-07-08T18:57:00.008-07:002023-07-11T12:50:41.371-07:00exhibitions, current and upcoming<span style="font-size: large;">University of Houston - Clear Lake</span><div><span style="font-size: large;">Assemblage</span></div><div><span style="font-size: large;"><span style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; text-align: center;">May 22 - June 23, 2023</span></span></div><div><div style="text-align: center;"><span style="color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: large;"><br /></span></div>
<br /><div><div><span style="font-size: large;">Texas Artists Exhibition</span></div><div><div><span style="font-size: large;">Beeville Art Museum</span></div><div><span style="font-size: large;">August 5 - 26, 2023</span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><span style="font-size: large;">Irving Arts Center</span><div style="font-size: medium;"><span style="font-size: large;">July 13 - September 7, 2024</span></div></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><br /></span></div></div></div></div>Lane Bankshttp://www.blogger.com/profile/16269462901384135461noreply@blogger.com0tag:blogger.com,1999:blog-5230549421167806702.post-31223614828436840062011-06-15T07:21:00.000-07:002011-06-15T07:21:13.294-07:00drawings 2007<div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2QP62hJxLY7SDTiWPv6NrFT-BGS3wOUoHU_Q7726KTuo99p2xxMZ1XMIEFNtTqUB7X6NdNni_0hiNDEjAj8nkgZ2naIGBeE7x0EHQ4ed-wjqkMyVC3u8sH_7Ty9CNTyte5N8bXdpTVBA/s1600/Untitled2007.3%252C+graphite+on+paper%252C+16.5+x+14.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2QP62hJxLY7SDTiWPv6NrFT-BGS3wOUoHU_Q7726KTuo99p2xxMZ1XMIEFNtTqUB7X6NdNni_0hiNDEjAj8nkgZ2naIGBeE7x0EHQ4ed-wjqkMyVC3u8sH_7Ty9CNTyte5N8bXdpTVBA/s640/Untitled2007.3%252C+graphite+on+paper%252C+16.5+x+14.jpg" t8="true" width="538" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;">Untitled2007.3, graphite on paper, 16.5 x 14</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_6o5EPyHAt-dyL5aYxozjSTb08XBOXif9mqieYeT09xcsjiS3f4MXUEOQgxZUPdtslBdhiMNVJaR7jDy5GvecQkEQ7lv_xtgH7jte65SlqScL8OkYFmEPoWb7_9bb3wvlEUjYHiPIv-0/s1600/Untitled2007.4%252C+graphite+on+paper%252C+13.75+x+12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_6o5EPyHAt-dyL5aYxozjSTb08XBOXif9mqieYeT09xcsjiS3f4MXUEOQgxZUPdtslBdhiMNVJaR7jDy5GvecQkEQ7lv_xtgH7jte65SlqScL8OkYFmEPoWb7_9bb3wvlEUjYHiPIv-0/s640/Untitled2007.4%252C+graphite+on+paper%252C+13.75+x+12.jpg" t8="true" width="562" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;">Untitled2007.4, graphite on paper, 13.75 x 12</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAWe4cACSp_mgbSB_KFsjvyANX8H05iS_hIoHd9AU2EDpevnIRWzjg6Bh8UpnoMw8_D5OBdpV2GwAMhzCSLFVQOty0C2sMeHNMNKOX2CmaAaNCVzPbSf7Vgi1TM8vsvpulovONztPxOCE/s1600/Untitled2007.5%252C+graphite+on+paper%252C+16.5+x+12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAWe4cACSp_mgbSB_KFsjvyANX8H05iS_hIoHd9AU2EDpevnIRWzjg6Bh8UpnoMw8_D5OBdpV2GwAMhzCSLFVQOty0C2sMeHNMNKOX2CmaAaNCVzPbSf7Vgi1TM8vsvpulovONztPxOCE/s640/Untitled2007.5%252C+graphite+on+paper%252C+16.5+x+12.jpg" t8="true" width="470" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;">Untitled2007.5, graphite on paper, 16.5 x 12</div><div class="separator" style="clear: both; text-align: center;"><br />
</div>Lane Bankshttp://www.blogger.com/profile/16269462901384135461noreply@blogger.com0tag:blogger.com,1999:blog-5230549421167806702.post-73403658562127441112011-06-15T07:18:00.000-07:002011-07-23T17:05:12.069-07:00drawings 2006<div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2006.3, graphite on paper, 17.75 x 17.75</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2006.4, graphite on paper, 17.75 x 17.75</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2006.8, graphite on paper, 17.75 x 17.75</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2006.11, graphite on paper, 17.6 x 17.6</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2006.22, graphite on paper, 15 x 10</div>Lane Bankshttp://www.blogger.com/profile/16269462901384135461noreply@blogger.com1tag:blogger.com,1999:blog-5230549421167806702.post-34891387042908395152011-05-27T10:59:00.000-07:002011-08-05T06:29:45.205-07:00drawings 2005<div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2005.30, graphite on paper, 10.5 x 13.4</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2005.31, graphite on paper, 11 x 13</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2005.32, graphite on paper, 11 x 13</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">unnumbered, graphite on paper, 10.5 x 10.5</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">unnumbered, graphite on paper, 10.5 x 10.5</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2005.33, graphite on paper, 10.5 x 10.5</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2005.34, graphite on paper, 11.1 x 13</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2005.35, graphite on paper, 10.25 x 8.5</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2005.36, graphite on paper, 10.75 x 8.5</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2005.37, graphite on paper, 13.9 x 12</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2005.38, graphite and ink on paper, 13.75 x 12</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2005.39, graphite on paper, 12.75 x 16</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2005.40, graphite on paper, 16.25 x 14</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2005.41, graphite on paper, 14.5 x 15.5</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2005.43, graphite on paper, 14.75 x 14</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2005.44, graphite on paper, 13.25 x 15</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2005.45, graphite on paper, 16 x 16.5</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2005.46, graphite on paper, 17 x 17</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2005.48, graphite on paper, 14 x 16</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2005.49, graphite on paper, 15.75 x 18</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2005.52, graphite on paper, 15 x 19.6</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2005.55, graphite on paper, 12.75 x 16</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2005.56, graphite on paper, 15.5 x 14</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2005.58, graphite on paper, 12.25 x 12.5</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2005.59, graphite on paper, 12 x 12</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2005.60, graphite on paper, 12 x 11.6</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div>Lane Bankshttp://www.blogger.com/profile/16269462901384135461noreply@blogger.com0tag:blogger.com,1999:blog-5230549421167806702.post-9611521460305775502011-05-19T12:09:00.000-07:002011-05-20T19:50:23.558-07:00DFW airport commission<div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Terminal D, engineered stone, 20' diameter</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.dfwairport.com/art/">http://www.dfwairport.com/art/</a></div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">scale laser print</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">scale painting on four sheets of paper</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">the first of four studies at 1/24 scale for the commission</div><div class="separator" style="clear: both; text-align: center;">acrylic on paper, 11 x 14</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div>Lane Bankshttp://www.blogger.com/profile/16269462901384135461noreply@blogger.com0tag:blogger.com,1999:blog-5230549421167806702.post-38850520814552033832011-04-19T09:47:00.001-07:002011-05-13T20:07:16.595-07:00paintings on paper 1998<div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled1998.2, acrylic on paper, 11 x 11</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled1998.4, acrylic on paper, 11 x 11</div><div class="separator" style="clear: both; text-align: center;"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS3jKMCWpGyVhyphenhyphenIkh2FXxLe3Yo-GPUBmLIhbK7ZSO4FZCwgxnG85614OB3lcEqhpSvsq_6-5D0uRLk56iGS_FGIrqhwvOhxH9y6vPNJRPqwQhzQ57kBGOUMYtaFufmbVUdumX4dtza2dY/s1600/Untitled1998.7%252C+acrylic+on+paper%252C+9+x+11.25.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="514" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS3jKMCWpGyVhyphenhyphenIkh2FXxLe3Yo-GPUBmLIhbK7ZSO4FZCwgxnG85614OB3lcEqhpSvsq_6-5D0uRLk56iGS_FGIrqhwvOhxH9y6vPNJRPqwQhzQ57kBGOUMYtaFufmbVUdumX4dtza2dY/s640/Untitled1998.7%252C+acrylic+on+paper%252C+9+x+11.25.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;">Untitled1998.7, acrylic on paper, 9 x 11.25</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled1998.8, acrylic on paper, 10.6 x 10.6</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled1998.9, acrylic on paper, 11 x 11</div><div class="separator" style="clear: both; text-align: center;"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQiypb9nieOHYkmgqQzkAZ2bjGv6Mwj2SzYg0oYdW2xVf_XtP3ujleoHKeAaD93brN7ejOGyqD2KS3gjry2fgmSO0yLUI2dPG4SbLUou6yGnN5Pog0U43YpZi9o1_DyVFki9v1LnNIR_4/s1600/Untitled1998.10%252C+acrylic+on+paper%252C+8.6+x+8.6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQiypb9nieOHYkmgqQzkAZ2bjGv6Mwj2SzYg0oYdW2xVf_XtP3ujleoHKeAaD93brN7ejOGyqD2KS3gjry2fgmSO0yLUI2dPG4SbLUou6yGnN5Pog0U43YpZi9o1_DyVFki9v1LnNIR_4/s640/Untitled1998.10%252C+acrylic+on+paper%252C+8.6+x+8.6.jpg" width="632" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;">Untitled1998.10, acrylic on paper, 8.6 x 8.6</div><div class="separator" style="clear: both; text-align: center;"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7qRrvHG08ii9qL0OO1r1qa1gjGZpojz6lkHjdYHMAN-bY3TuFUssVPmAGf9DiTC4af1HgZClSI6zNsC43ax0RhmNHmzY9cfZJq2da-sc_EEZA8UepEeFkx9pIfg-DNESBURYEQ_cIUTs/s1600/Untitled1998.11%252C+acrylic+on+paper%252C+8.6+x+8.6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="638" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7qRrvHG08ii9qL0OO1r1qa1gjGZpojz6lkHjdYHMAN-bY3TuFUssVPmAGf9DiTC4af1HgZClSI6zNsC43ax0RhmNHmzY9cfZJq2da-sc_EEZA8UepEeFkx9pIfg-DNESBURYEQ_cIUTs/s640/Untitled1998.11%252C+acrylic+on+paper%252C+8.6+x+8.6.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;">Untitled1998.11, acrylic on paper, 8.6 x 8.6</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled1998.12, acrylic on paper, 10.1 x 10.1</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled1998.14, acrylic on paper, 11 x 14</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div>Lane Bankshttp://www.blogger.com/profile/16269462901384135461noreply@blogger.com0tag:blogger.com,1999:blog-5230549421167806702.post-21427348367765541762011-03-24T11:19:00.000-07:002011-05-07T04:29:00.383-07:00paintings on paper 1997<div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled1997.1, acrylic on paper, 12 x 12</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled1997.2, acrylic on paper, 12 x 12</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled1997.3, acrylic on paper, 12 x 12</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled1997.4, acrylic on paper, 12 x 12</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled1997.5, acrylic on paper, 12 x 12</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled1997.6, acrylic on paper, 12 x 12</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled1997.7, acrylic on paper, 12 x 12</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled1997.8, acrylic on paper, 12 x 12</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled1997.9, acrylic on paper, 12 x 12</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled1997.10, acrylic on paper, 12 x 12</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled1997.11, acrylic on paper, 12 x 12</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled1997.12, acrylic on paper, 14 x 14</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled1997.28, acrylic on paper, 14.25 x 14.25</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled1997.29, acrylic on paper, 14 x 14</div><div class="separator" style="clear: both; text-align: center;"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHTVsxcWdYdNRBNT5GLmAvwhT69NR_cphGFw55nvy09R-Jd7UUVniTTg088ffP4ZghUM1lWJbn0KWmpcio0rcoZtqNB13aDZAyELsB0ZtHUjcZr2ep8gDd4mnw-BnT-FKSFzhvxSrxud0/s1600/Untitled1997.30%252C+acrylic+on+paper%252C+14+x+14.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" j8="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHTVsxcWdYdNRBNT5GLmAvwhT69NR_cphGFw55nvy09R-Jd7UUVniTTg088ffP4ZghUM1lWJbn0KWmpcio0rcoZtqNB13aDZAyELsB0ZtHUjcZr2ep8gDd4mnw-BnT-FKSFzhvxSrxud0/s640/Untitled1997.30%252C+acrylic+on+paper%252C+14+x+14.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;">Untitled1997.30, acrylic on paper, 14 x 14</div><div class="separator" style="clear: both; text-align: center;"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh68O07A49mLscqvTizjBfEs5IeCSxt28OM70EecskcEzd-t5mtBClhTYyR_80eWMHdo3GSkFdsqmIGYk3K3EYuq4jRPwgTkG4p0aDyT0CeOkh4kJwsIGibsB2e6Co4UY3NIzXFUIXQdks/s1600/Untitled1997.33%252C+acrylic+on+paper%252C+14+x+14.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="632" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh68O07A49mLscqvTizjBfEs5IeCSxt28OM70EecskcEzd-t5mtBClhTYyR_80eWMHdo3GSkFdsqmIGYk3K3EYuq4jRPwgTkG4p0aDyT0CeOkh4kJwsIGibsB2e6Co4UY3NIzXFUIXQdks/s640/Untitled1997.33%252C+acrylic+on+paper%252C+14+x+14.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;">Untitled1997.33, acrylic on paper, 14 x 14</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled1997.34, acrylic on paper, 14 x 14</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigBfGdeGenk3LmYhAtpSBY7rdPuaKO7ATo8xtqkxpXuJhVNruEnzKPxfEenPYgeSmLNqzuva_eEpMiMnq0wMOy32QlH0t5IAbFVwRO0xl7wwkhWRW_NzLn-XovGKjFOFR8VQd0uTnL0Wk/s1600/Untitled1997.35%252C+acrylic+on+paper%252C+14+x+14.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="638" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigBfGdeGenk3LmYhAtpSBY7rdPuaKO7ATo8xtqkxpXuJhVNruEnzKPxfEenPYgeSmLNqzuva_eEpMiMnq0wMOy32QlH0t5IAbFVwRO0xl7wwkhWRW_NzLn-XovGKjFOFR8VQd0uTnL0Wk/s640/Untitled1997.35%252C+acrylic+on+paper%252C+14+x+14.jpg" width="640" /></a><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnyMz8hFDdlEDLdMR-bRzGMQyexhPmiRDJzV3t7uxzJznIfVvXslP-nrkVPrCe749bcTqIvznQyMxmv-XciLDE1Sg-LM5dVOnWCXvyFpeAApQfCdsGtJlivTS8ksdLkucJE7f_oJUQpPE/s1600/Untitled1997.36%252C+acrylic+on+paper%252C+14+x+14.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="630" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnyMz8hFDdlEDLdMR-bRzGMQyexhPmiRDJzV3t7uxzJznIfVvXslP-nrkVPrCe749bcTqIvznQyMxmv-XciLDE1Sg-LM5dVOnWCXvyFpeAApQfCdsGtJlivTS8ksdLkucJE7f_oJUQpPE/s640/Untitled1997.36%252C+acrylic+on+paper%252C+14+x+14.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;">Untitled1997.36, acrylic on paper, 14 x 14</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"></div>Lane Bankshttp://www.blogger.com/profile/16269462901384135461noreply@blogger.com0tag:blogger.com,1999:blog-5230549421167806702.post-58703545400430288752011-03-16T10:38:00.000-07:002011-03-23T09:35:52.965-07:00aluminum wall projections<div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsDqXJxiSGTJZi0K4A3EnHpS1eJ8UMaXIeflTqU3gKTk4Q-8rSTc41V_bFY_2bdhucEk6N0MBvcYkuX_WB32qRI-8dq6hgwTyR52ZWjz86sCRYXniedVnad-koarwYLKgQ0coR5WPzZKY/s1600/Untitled2001.9%252C+enamel+on+two+stacked+aluminum+forms%252C+13.5+x+16+x+8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="566" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsDqXJxiSGTJZi0K4A3EnHpS1eJ8UMaXIeflTqU3gKTk4Q-8rSTc41V_bFY_2bdhucEk6N0MBvcYkuX_WB32qRI-8dq6hgwTyR52ZWjz86sCRYXniedVnad-koarwYLKgQ0coR5WPzZKY/s640/Untitled2001.9%252C+enamel+on+two+stacked+aluminum+forms%252C+13.5+x+16+x+8.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;">Untitled2001.9, enamel on two stacked aluminum forms, 13.5 x 16 x 8</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2001.9</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2002.3, enamel on three aluminum forms, 12 x 24 x 12</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2002.3</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2002.3, underside view</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2002.4, enamel on three aluminum forms, 7 x 38 x 5</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2002.10, enamel on two aluminum forms, 28 x 16 x 10</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2003.3, enamel on five aluminum forms, 41 x 50</div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Untitled2003.3, oblique view</div><div class="separator" style="clear: both; text-align: center;"><br />
</div>Lane Bankshttp://www.blogger.com/profile/16269462901384135461noreply@blogger.com0tag:blogger.com,1999:blog-5230549421167806702.post-19007195043699728302011-01-31T21:07:00.000-08:002012-12-30T17:10:07.730-08:00grid paintings<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0cPhHRLaW-6RtWKLd33FSUcJkzCRYSjCb6RFedNO6xwY06_GQpgPx3wWgDMkm8vaeLpLsWb33lf3GTxQGk4WsM24B_OCDEq4Jcj2bjwSbrkyub7GR5yH02D2Ei5glZrXIM_i9L9AcnJ0/s1600/Untitled1997.15%252C+acrylic+on+canvas%252C+20+x+20.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="638" j6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0cPhHRLaW-6RtWKLd33FSUcJkzCRYSjCb6RFedNO6xwY06_GQpgPx3wWgDMkm8vaeLpLsWb33lf3GTxQGk4WsM24B_OCDEq4Jcj2bjwSbrkyub7GR5yH02D2Ei5glZrXIM_i9L9AcnJ0/s640/Untitled1997.15%252C+acrylic+on+canvas%252C+20+x+20.jpg" width="640" /></a></div>
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Untitled1997.15, acrylic on canvas, 20 x 20</div>
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Untitled1997.16, acrylic on canvas, 24 x 24</div>
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Untitled1997.17, acrylic on canvas, 20 x 20</div>
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Untitled1997.18, acrylic on two joined canvases, 16 x 12</div>
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Untitled1997.19, acrylic on two joined canvases, 16 x 12</div>
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Untitled1997.20, acrylic on canvas, 18 x 18</div>
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Untitled1997.21, acrylic on canvas, 20 x 20</div>
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Untitled1997.25, acrylic on canvas, 20 x 20</div>
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Untitled1997.26, acrylic on canvas, 20 x 20</div>
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Untitled1997.29, acrylic on canvas, 20 x 20</div>
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Untitled1997.30, acrylic on canvas, 20 x 30</div>
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Untitled1997.32, acrylic on canvas, 20 x 20</div>
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Untitled1997.39, acrylic on canvas, 20 x 20</div>
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Untitled1997.41, acrylic on canvas, 20 x 20</div>
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Untitled1997.37, acrylic on canvas, 36 x 36</div>
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Untitled1997.38, acrylic on canvas, 36 x 36</div>
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Untitled1998.22, acrylic on canvas, 24.125 x 24.125</div>
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Untitled1998.23, acrylic on canvas, 20 x 20</div>
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Untitled1998.24, acrylic on canvas, 20 x 20</div>
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Untitled1998.25, acrylic on canvas, 19.5 x 19.5</div>
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Untitled1998.26, acrylic on canvas, 18 x 18</div>
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Untitled1998.28, acrylic on canvas, 19.25 x 19.25</div>
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Untitled1998.29, acrylic on canvas, 38.5 x 38.5</div>
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Untitled1998.30, acrylic on canvas, 26 x 26</div>
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Untitled1998.31, acrylic on canvas, 33 x 33</div>
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Untitled1999.1, acrylic on canvas, 26.5 x 26.5</div>
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Untitled1999.4, acrylic on canvas, 51 x 51</div>
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Untitled1999.5, acrylic on two joined canvases, 39.25 x 39.5 x 4.5</div>
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Untitled1999.5 oblique view</div>
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Lane Bankshttp://www.blogger.com/profile/16269462901384135461noreply@blogger.com1tag:blogger.com,1999:blog-5230549421167806702.post-16281966329439120702011-01-11T13:19:00.001-08:002021-08-03T18:02:27.949-07:00past SMU course descriptions<div class="MsoNormal" style="line-height: normal; margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-pagination: none;">
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<span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: 14pt; line-height: 115%;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="color: black;"><span style="font-size: 12pt; line-height: 115%;"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "times new roman";"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "times new roman";"><span style="font-family: inherit;"><span style="font-size: 14pt; line-height: 115%;"><span style="color: black;"><span style="color: black; font-family: inherit;"></span><br />
<span style="font-size: large;"></span><span style="font-family: "Times New Roman"; font-size: large;"><span style="font-family: "calibri";"><span style="color: black; font-family: inherit;"><span style="color: black; font-family: inherit;"><span style="color: black; font-family: inherit;"><span style="color: black; font-family: inherit;"><span style="color: black; font-family: inherit;"><span style="color: black; font-family: inherit;"><span style="color: black; font-family: inherit;"><span style="font-size: 12pt; line-height: 18.4px;"><span style="font-family: "calibri";"><span style="font-size: 12pt; line-height: 18.4px;"><span style="font-family: "calibri";"><strong>Picasso: Early Work, Blue and Rose Periods</strong></span></span></span></span><br /><span style="font-size: 12pt; line-height: 18.4px;"><span style="font-family: "calibri";"><span style="font-size: 12pt; line-height: 18.4px;"><span style="font-family: "calibri";"><o:p></o:p></span></span>Pablo Picasso is the artist most closely associated with modern art in the 20<sup>th</sup> century; his vast output and myriad stylistic changes range from highly detailed realism to nearly abstract.<span style="mso-spacerun: yes;"> </span>Among his best known works are his Cubist pieces – portraits and still lifes rendered in fractured planes and flat colors.<span style="mso-spacerun: yes;"> </span>Before the invention of Cubism, Picasso passed through three other phases in his career; early expressionist works, the Blue and Rose periods.<o:p></o:p></span></span><br /></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-family: "Times New Roman"; font-size: large;"><span style="font-family: "calibri";"><span style="color: black; font-family: inherit;"><span style="color: black; font-family: inherit;"> </span></span></span></span><br style="font-family: "Times New Roman"; font-size: medium;" /><div class="MsoNormal" style="font-family: "Times New Roman"; font-size: medium; margin: 0in 0in 10pt;"><div class="MsoNormal" style="margin: 0in 0in 10pt;"><br /><div class="MsoNormal" style="margin: 0in 0in 10pt; tab-stops: 49.5pt;"><span style="font-size: 12pt; line-height: 18.4px;"><span style="font-family: "calibri";">Utilizing digital images and quotations from Picasso and art historians, this discussion-based course will consider the works of Picasso’s youth in Barcelona, when under the instruction of his painter father, the teenaged Picasso produced works in the conservative and tepid academic tradition that brought him early recognition and success.<span style="mso-spacerun: yes;"> </span>His Barcelona friends and fellow students the <i style="mso-bidi-font-style: normal;">modernistes</i> introduced him to ideas and art works outside this practice, which influenced Picasso to depict street life and other scenes of the world around him.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div><br /><div class="MsoNormal" style="margin: 0in 0in 10pt; tab-stops: 49.5pt;"><span style="font-size: 12pt; line-height: 18.4px;"><span style="font-family: "calibri";">Abandoning a certain path to success with the academic works of his youth in Barcelona, Picasso adopted as his subject matter beggars, prostitutes, drinkers and other societal outcasts after his move to Paris in 1901.<span style="mso-spacerun: yes;"> </span>These works utilize a monochrome blue palette that heightens the mood of melancholy, isolation and despair.<span style="mso-spacerun: yes;"> </span>The influence of the Baroque painter El Greco is especially felt in this period, particularly in the depiction of elongated hands and heavy, flowing drapery of the often solitary figures. <span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The Old Guitarist</i> is one of his best known works from this period.<o:p></o:p></span></span></div><br /><div class="MsoNormal" style="margin: 0in 0in 10pt; tab-stops: 49.5pt;"><span style="font-size: 12pt; line-height: 18.4px;"><span style="font-family: "calibri";">Beginning in 1904, Picasso’s subject matter began to change in light of his attendance at the circus, a popular form of entertainment in Paris.<span style="mso-spacerun: yes;"> </span>He then began to depict acrobats, harlequins and other itinerant performers who, like his earlier Blue period subjects, existed on the fringes of society.<span style="mso-spacerun: yes;"> </span>The recurring motif of the harlequin is usually interpreted as a surrogate self portrait.<span style="mso-spacerun: yes;"> </span>This group of works is rendered in a predominantly terra-cotta colored or pastel palette, a defining characteristic of the Rose period.<span style="mso-spacerun: yes;"> </span>His circus-themed <i style="mso-bidi-font-style: normal;">Family of Saltimbanques</i> is the major work of this era, and one of his largest paintings.<span style="mso-spacerun: yes;"> </span>Picasso also produces some of his first prints during this period, and begins working in sculpture; his expressive modeling in clay mirrors his Mannerist treatment of the figure in his paintings and drawings.<o:p></o:p></span></span></div><br /><div class="MsoNormal" style="margin: 0in 0in 10pt; tab-stops: 49.5pt;"><span style="font-size: 12pt; line-height: 18.4px;"><span style="font-family: "calibri";">This four part course will consider the works of Picasso’s youth in Barcelona while under the instruction of his father and the various art schools he briefly attended in the late 1890s, and will continue through the works of the Blue and Rose periods produced in Barcelona and Paris up to the end of 1905, leading up to the proto-Cubist works of 1906 that revolutionized modern art.</span></span></div><div class="MsoNormal" style="margin: 0in 0in 10pt; tab-stops: 49.5pt;"><span style="font-size: 12pt; line-height: 18.4px;"><span style="font-family: "calibri";">January 23 - February 20, 2020.</span></span></div><div class="MsoNormal" style="margin: 0in 0in 10pt; tab-stops: 49.5pt;"><span style="font-size: 12pt; line-height: 18.4px;"><span style="font-family: "calibri";"><br /></span></span></div><div class="MsoNormal" style="margin: 0in 0in 10pt; tab-stops: 49.5pt;"><span style="font-size: 12pt; line-height: 18.4px;"><span style="font-family: "calibri";"><br /></span></span></div></div></div>
<span style="font-size: large;"><br /><span style="color: black; font-family: inherit;"></span><br /><span style="font-family: "calibri";"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: 14pt; line-height: 115%;">Renoir and the Impressionist Portrait<o:p></o:p></span></span></span></span></span><br />
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<span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: 12pt; line-height: 115%;">Pierre-Auguste Renoir (1841 – 1919), along with fellow painters Claude Monet, Edgar Degas and others, formed the core of the group of radical artists known as the Impressionists, whose sketch-like paintings and independent exhibitions marked them as among the first artists of the modern era.<span style="mso-spacerun: yes;"> </span>His <i style="mso-bidi-font-style: normal;">Luncheon of the Boating Party, </i>a depiction of friends enjoying a leisurely lunch in the countryside<i style="mso-bidi-font-style: normal;">, </i>is quintessential<i style="mso-bidi-font-style: normal;"> </i>Impressionist subject matter, and a key work of modern art.<o:p></o:p></span></span></span></div>
<span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: 12pt; line-height: 115%;">The fluid, feathery brushstrokes of his Impressionist era pleasure boaters and opera attendees give these works a sense of spontaneity in keeping with his interest in depicting the transitory pleasures of contemporary life.<span style="mso-spacerun: yes;"> </span>His later works returned to a more tightly controlled, classical technique and subject matter, particularly in his monumental bathers series.<o:p></o:p></span></span></span><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-family: "times new roman"; font-size: small;"></span><br /><span style="font-size: 12pt; line-height: 115%;">This five part course will consider Renoir’s portraits and nudes, which remain his most enduring works.<span style="mso-spacerun: yes;"> </span>His style and technique varied depending upon the status of the work, whether a commissioned portrait or more casual depiction of family or friends.<span style="mso-spacerun: yes;"> </span>Renoir’s images of his wife Aline and their children are intimate records of his familial relationships, and are often more frank than the slightly idealized portraits of his patrons.<o:p></o:p></span></span></span><br />
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<span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: 12pt; line-height: 115%;">This course is presented in conjunction with the special exhibition <i style="mso-bidi-font-style: normal;">Renoir: The Body, The Senses</i> at the Kimbell Art Museum, October 27, 2019 to January 26, 2020. (</span><a href="https://www.kimbellart.org/exhibition/renoir"><span style="font-size: 12pt; line-height: 115%;"><span style="color: blue;">https://www.kimbellart.org/exhibition/renoir</span></span></a><span style="font-size: 12pt; line-height: 115%;">).<o:p></o:p></span></span></span><br />
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<span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-size: 12pt; line-height: 115%;">Day 9/19, 9/26, 10/3, 10/10, 10/17<o:p></o:p></span></span></span></span></div>
<span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: 12pt; line-height: 115%;">Evening 10/17, 10/24, skip 10/31, 11/7, 11/14, 11/21<o:p></o:p></span></span></span><br />
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Berthe Morisot:<span style="mso-spacerun: yes;"> </span>Impressionism and the Family<o:p></o:p></span><br /></span> </span></span><br /></span></span></span></span><br /></span><br /></span></span><br /></span></span></span></span></span></span></span><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />
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<span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: 14pt; line-height: 115%;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: inherit;"><span style="color: black;">Berthe Morisot (1841 - 1895) is widely considered by art historians to be one of the major Impressionist painters, exhibiting in seven of the group’s eight independent exhibitions, yet her work is often overshadowed by her more famous male contemporaries Monet, Renoir and Degas.<span style="mso-spacerun: yes;"> </span>Morisot’s fluid paint handling and sketchy finish made her work a natural fit for the upstart Impressionists who wanted to portray images of modern life, rejecting academic themes, subject matter and techniques.<span style="mso-spacerun: yes;"> </span>Her work does not, however, depict street scenes of the boulevards of Paris, or popular entertainments such as the ballet or café concerts as does that of her male colleagues, since her status as a bourgeoisie woman would not allow her to go out in public unescorted to record such images.<span style="mso-spacerun: yes;"> </span>Instead, her work almost exclusively focuses on the domestic scene, considered to be the proper sphere of a woman of her status; her sisters Edma and Yves and mother Marie are among her favorite models, as are her husband Eugene and daughter Julie.<o:p></o:p></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br />
<span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: 14pt; line-height: 115%;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "times new roman";"><span style="color: black; font-family: inherit;"></span><br /><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: 14pt; line-height: 115%;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: inherit;"><span style="color: black;">In conjunction with the special exhibition <i style="mso-bidi-font-style: normal;">Berthe Morisot: Woman Impressionist</i> (February 24 – May 26, 2019) at the Dallas Museum of Art, this four part course will consist of three classroom meetings on campus, and conclude with a visit to the museum to tour the exhibition.<o:p></o:p></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br />
<span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: 14pt; line-height: 115%;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "times new roman";"><span style="color: black; font-family: inherit;"></span><br /><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: 14pt; line-height: 115%;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="color: black; font-family: inherit;">Four meetings, 90 minutes each, including one museum visit, museum and exhibition admission included, (skip 2/14).</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br />
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<span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: 14pt; line-height: 115%;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="color: black; font-family: inherit;">January 24 - February 21, 2019 (day)</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div>
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<span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: 14pt; line-height: 115%;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="color: black; font-family: inherit;">February 21 - March 14, 2019 (evening)</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br />
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<span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: 14pt; line-height: 115%;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="color: black; font-family: inherit;"> </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: 14pt; line-height: 115%;"><span style="font-family: inherit;"><span style="color: black;">The Van Gogh Museum, Amsterdam: Its Collection and History<o:p></o:p></span></span></span></div>
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<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: inherit;"><span style="color: black;">Vincent van Gogh (1853 – 1890), who along with his contemporaries Paul Gauguin, Paul Cezanne and Georges Seurat, made up the group of painters known as the Post-Impressionists, artists who extended the innovations of the Impressionists beyond capturing fleeting effects of light and color.<span style="mso-spacerun: yes;"> </span>Known for his thick impasto and expressive use of color and composition, van Gogh remains one of the most influential and best known artists of all time.<span style="mso-spacerun: yes;"> </span>His <i style="mso-bidi-font-style: normal;">Starry Night</i> (Museum of Modern Art, New York) is one of the most iconic paintings in the history of Western art.<span style="mso-spacerun: yes;"> </span>The Van Gogh Museum in Amsterdam holds the largest collection of his works in the world, including 200 paintings, 400 drawings, and 700 letters, most written to his brother and long time supporter Theo, and is one of the most visited art museums in Europe.<o:p></o:p></span></span></span></div>
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<span style="font-family: inherit;"><span style="color: black;"><span style="font-size: 12pt; line-height: 115%;">Presented in conjunction with the special exhibition <i style="mso-bidi-font-style: normal;">Vincent van Gogh: <span style="mso-spacerun: yes;"> </span>His Life In Art </i>at the<i style="mso-bidi-font-style: normal;"> </i>Museum of Fine Arts, Houston (March 10 – June 27, 2019), this course will consider works made throughout van Gogh’s brief career as an artist, from his early drawings of peasants and first monochrome oil paintings, and continuing through his exposure to the brighter palette of Impressionism and flat color areas of Japanese prints that resulted in his signature style consisting of intense colors applied in his characteristic thick, choppy brush strokes made during his last three years.<span style="mso-spacerun: yes;"> </span>Quotations from his voluminous correspondence with his brother Theo will illuminate the special bond between the siblings, and highlight Theo’s unshakable faith in Vincent’s art.<o:p></o:p></span></span></span></div>
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<span style="font-family: inherit;"><span style="color: black;"><span style="font-size: 12pt; line-height: 115%;">Van Gogh’s posthumous reputation will also be explored, particularly how his work was promoted after his death by his sister-in-law Johanna Van Gogh-Bonger, and the lengthy build up to the establishment of his namesake museum that displays his work as well as those by his contemporaries, including Monet, Gauguin and Seurat.<o:p></o:p></span></span></span></div>
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<span style="font-size: 12pt; line-height: 115%;"><span style="color: black; font-family: inherit;">Four meetings, 90 minutes each (skip 3/14, 4/18).</span></span></div>
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<span style="font-size: 12pt; line-height: 115%;"><span style="color: black; font-family: inherit;">February 28 - March 28, 2019 (day)</span></span></div>
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<span style="font-size: 12pt; line-height: 115%;"><span style="color: black; font-family: inherit;">March 28 - April 25, 2019 (evening)<span style="font-size: 12pt; line-height: 115%;"><a href="https://caperegistration.smu.edu/search/publicCourseSearchDetails.do?method=load&courseId=723095"><span style="color: black; font-family: inherit;"> </span></a></span></span></span></div>
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<span style="font-size: 14pt; line-height: 115%;"><span style="font-family: inherit;"><span style="color: black;">Claude Monet After Impressionism: The Water Lilies and the Late Series Works<o:p></o:p></span></span></span></div>
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<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: inherit;"><span style="color: black;">Claude Monet (1840 -1926) is the artist most closely associated with Impressionism, the late 19<sup>th</sup> century style of painting that revolutionized art theory and practice.<span style="mso-spacerun: yes;"> </span>His painting <i style="mso-bidi-font-style: normal;">Impression, Sunrise</i> (1872) gave the movement its name, and his and the other Impressionists’ policy of showing their work in independent exhibitions during the 1870s that competed with the official government sponsored Salons helped to establish the practice of artists to show and sell their work directly to buyers.<span style="mso-spacerun: yes;"> </span>Monet’s interest in capturing fleeting effects of light and color in his paintings led him to work quickly and out of doors (<em>en plein air</em>) directly before the motif, which led to harsh criticism of his work by conservative critics decrying the lack of finish and sketchy brushwork.<o:p></o:p></span></span></span></div>
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<span style="font-family: inherit;"><span style="color: black;"><span style="font-size: 12pt; line-height: 115%;">In the 1890s, Monet began working on paintings of the same motif observed under different conditions of weather and times of day, and was one of the first artists to conceive of a group of works as components of a series, rather than as individual, independent works.<span style="mso-spacerun: yes;"> </span>The series of haystacks, Japanese foot bridges and Rouen Cathedral facades are prime examples of his conception of painting in multiples a single subject viewed under shifting atmospheric effects.<span style="mso-spacerun: yes;"> </span>His best known motif from this part of his career is undoubtedly the water lilies, canvases ranging from moderate sized to mural scale paintings that fill a room and create an immersive environment for the viewer. </span></span></span></div>
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<span style="font-family: inherit;"><span style="color: black;"><span style="font-size: 12pt; line-height: 115%;">His carefully cultivated gardens and lily ponds on his property at Giverny provided him with subject matter for much of his work during this period.<span style="mso-spacerun: yes;"> </span>Monet’s gift to the French state of a cycle of his water lily paintings are today installed in specially designed oval shaped galleries at the Musee de l’Orangerie in Paris.<o:p></o:p></span></span></span></div>
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<span style="font-family: inherit;"><span style="color: black;"><span style="font-size: 12pt; line-height: 115%;">In conjunction with the special exhibition <i style="mso-bidi-font-style: normal;">Monet: The Late Years</i> at the Kimbell Art Museum (June 16 – September 15, 2019), this course will explore works from the final period of Monet’s life, and the complicated negotiations between Monet and Georges Clemenceau (French Prime Minister during World War I) that resulted in the Orangerie installation.</span></span></span></div>
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<span style="font-size: 12pt; line-height: 115%;"><span style="color: black; font-family: inherit;">May 2 - 30, 2019 (day)</span></span><br />
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June 6 - 27, 2019 (day and evening)<br />
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<span style="font-size: 12pt; line-height: 115%;"><a href="https://four%20meetings,%2090%20minutes%20each%20(skip%205/9)."><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: inherit;"><span style="color: black;">Four meetings, 90 minutes each (skip 5/9).<o:p></o:p></span></span></span></a></span></div>
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<span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: 14pt; line-height: 115%;">Modern Art in the Early Twentieth Century:<span style="mso-spacerun: yes;"> </span>Fauvism, Cubism, Surrealism and Abstract Art<o:p></o:p></span></span></span></span></span></span></span></span></span></span><br />
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<span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: 12pt; line-height: 115%;">October 11 - November 15, 2018</span></span></span><br />
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<span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: 12pt; line-height: 115%;">The first half of the twentieth century saw many transformations in the visual arts, often overlapping and at seemingly cross purposes.<span style="mso-spacerun: yes;"> </span>Yet all the major styles of this period were concerned with innovation and progress, whether in the distortion and eventual elimination of recognizable subject matter, the introduction of themes previously unused in art, or the utilization of novel materials and techniques.<o:p></o:p></span></span></span><br />
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<span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: 12pt; line-height: 115%;">Fauvism is the first major style of the century.<span style="mso-spacerun: yes;"> </span>The “wild beasts” allowed color to structure their paintings in opposition to the dominance given to line as a way to enclose and define objects.<span style="mso-spacerun: yes;"> </span>Saturated hues were used to create spatial illusionism rather than traditional modeling and perspective.<span style="mso-spacerun: yes;"> </span>Bright patches of intense color often separated by bare canvas derived from the Pointillism of Georges Seurat describe both objects and the surrounding space in a mosaic pattern of which each patch of paint is both descriptive of a form and functions abstractly simply as color.<span style="mso-spacerun: yes;"> </span>Henri Matisse is widely acknowledged as the leader of the group; his <i style="mso-bidi-font-style: normal;">Blue Nude</i> of 1907 is a major work from his Fauve period.<o:p></o:p></span></span></span></span></span></span></span><br />
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<span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-family: "times new roman";"></span></span></span></span></span></span></span><br />
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<span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: 12pt; line-height: 115%;">Cubism changed forever the very conception of form and space, as it broke down the previously sacrosanct boundaries between the two.<span style="mso-spacerun: yes;"> </span>The influence of the paintings of Paul Cezanne and the sculpture of African carvers allowed Cubist artists to formulate works which gave equal emphasis to objects and the space that surrounds them.<span style="mso-spacerun: yes;"> </span>This first, or Analytical, phase of Cubism resulted in works with a shallow pictorial depth and earth tone colors that revealed a scaffold-like construction of flat planes that are seemingly lit from multiple light sources.<span style="mso-spacerun: yes;"> </span>The works of Georges Braque and Pablo Picasso were enormously influential on contemporary artists investigating an alternative to the traditional conception of pictorial space practiced since the Renaissance.<o:p></o:p></span></span></span></span></span></span></span><br />
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<span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-family: "times new roman";"></span></span></span></span></span></span></span><br />
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<span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: 12pt; line-height: 115%;">Surrealism privileges what the mind can conceive over what is perceived by the senses.<span style="mso-spacerun: yes;"> </span>This conceptual attitude is a major break with the retinal art of previous periods in art history with their focus on the recording of optical vision.<span style="mso-spacerun: yes;"> </span>Painters such as Rene Magritte created deadpan images of recognizable subjects placed in bizarre juxtapositions to foster a sense of unease and disquiet in the viewer.<span style="mso-spacerun: yes;"> </span>Others, such as Joan Miro, used biomorphic, simple shapes and broad areas of color to create dreamlike, otherworldly visions of the subconscious.<o:p></o:p></span></span></span></span></span></span></span><br />
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<span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-family: "times new roman";"></span></span></span></span></span></span></span><br />
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<span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: 12pt; line-height: 115%;">The tendency toward greater abstraction is the defining characteristic of modern art in the twentieth century, as artists placed greater emphasis on eliminating recognizable subject matter and concentrated on foregrounding the elements of art itself – primarily line, shape and color.<span style="mso-spacerun: yes;"> </span>As a result, works of art, particularly paintings, became flatter with less emphasis on depicting illusionistic depth.<span style="mso-spacerun: yes;"> </span>Abstract paintings often consist of elements that are congruent with the surface of the work, so that the viewer perceives the composition as made of parts that are side by side on the same plane, rather than positioned one in front of another as in traditional illusionistic space.<span style="mso-spacerun: yes;"> </span>The career of Piet Mondrian, one of the founders of abstract art, is an unqualified encapsulation of the transition from the recording of perceptual images to the completely conceptual invention of the painting’s composition that makes no reference to perceptual phenomena.<o:p></o:p></span></span></span></span></span></span></span><br />
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<span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-family: "times new roman";"></span></span></span></span></span></span></span><br />
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<span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "times new roman";"><span style="font-size: 14pt; line-height: 115%;"><span style="font-family: "calibri";">Precisionism:<span style="mso-spacerun: yes;"> </span>Images of the Industrial World in Modern American Art<o:p></o:p></span></span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";">The International Exhibition of Modern Art held in New York in 1913, better remembered today as the Armory Show, sent shock waves throughout the art world in America.<span style="mso-spacerun: yes;"> </span>Many contemporary American artists, and the public at large, were presented with their first exposures to modern European art.<span style="mso-spacerun: yes;"> </span>Works by Cezanne, Brancusi, and Picasso demonstrated the advanced state of the new art: <span style="mso-spacerun: yes;"> </span>Duchamp’s <i style="mso-bidi-font-style: normal;">Nude Descending a Staircase</i>, and Matisse’s <i style="mso-bidi-font-style: normal;">Blue Nude</i> exemplified that American art seemed provincial and mired in tradition by comparison.<span style="mso-spacerun: yes;"> </span>American artists responded by adopting the techniques and theories of their modern European counterparts while retaining elements that made their work uniquely American.<span style="mso-spacerun: yes;"> </span>One result was Precisionism, a movement that portrayed modern American images of skyscrapers, machines and consumer items in a hard edged and soberly objective style that mirrored the influence of the most advanced European art of the time, particularly the Cubism of Picasso and Braque.<o:p></o:p></span></span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";">Works by Charles Sheeler, Charles Demuth, Georgia O’Keeffe, Ralston Crawford, Gerald Murphy, Niles Spencer, Stuart Davis and others will be discussed and analyzed in the context of those by their European counterparts as well as the streamlined machine esthetic, influence of photography and advertising images which informed them.<o:p></o:p></span></span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: large;"><span style="font-family: "calibri";"><span style="font-size: small;"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";">In this two part course, an on campus classroom lecture meeting will be followed by a tour of the special exhibition <i style="mso-bidi-font-style: normal;">Cult of the Machine: Precisionism in American Art</i> (September 16, 2018 – January 6, 2019) at the Dallas Museum of Art.</span></span></span></span></span></span></span></span></span></span><br />
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</span></span></span></span></span></span><span style="font-size: large;"><span style="font-size: large;"><span style="font-family: "calibri"; font-size: small;">The Musee d’Orsay in Paris holds the largest collection of Impressionist and Post Impressionist art works in the world, as well as many other works dating primarily from the mid nineteenth century through the first two decades of the twentieth.<span style="mso-spacerun: yes;"> </span>The collection includes many pivotal works in the history of modernism, those that altered the course of the painting and sculpture of our time. Housed in a former train station (the Gare d’Orsay), the Orsay opened to the public in 1986, and is one of the most visited museums in Europe.</span></span></span><br />
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<span style="font-size: large;"><span style="font-size: large;"><span style="font-family: "calibri"; font-size: small;">Through the use of digital images and classroom discussion, this course will explore works from the collection of the Musee d’Orsay, including those of the Barbizon school artists Corot, Millet, Daubigny and Rousseau who exhibited un-idealized landscapes based on direct observation of nature; <span style="mso-spacerun: yes;"> </span>the radical works of early modernists such as the Realists Manet and Courbet who were among the first to depict scenes of contemporary life; Impressionists Degas, Monet, Renoir, and Pissarro, Post Impressionists Cezanne, Seurat, Van Gogh and Gauguin, as well as those of their more academic, traditional contemporaries such as Meissonier, Cabanel, Bouguereau and Couture.<span style="mso-spacerun: yes;"> </span>Works by Picasso, Matisse, Mondrian and others chart the progress of modernism toward greater abstraction and emphasis on the subjective, personal expression of the artist so central to the art of the first half of the twentieth century.</span></span></span><br />
<span style="font-size: large;"><span style="font-family: "calibri"; font-size: small;">At the time many of these works were made, the primary method of acquisition for the French state collections was via purchases from the Salon, annual or bi annual government sponsored exhibitions of contemporary art that drew thousands of visitors, and could lead to state or private commissions and draw students to classes led by the state-honored artist.<span style="mso-spacerun: yes;"> </span>Traditional works depicting mythological or historical scenes were highly valued by the French Academy in the ranking of subject matter known as the hierarchy of genres, while landscape and still life were deemed inferior.<span style="mso-spacerun: yes;"> </span>Acquisitions would be held at the Musee du Luxembourg until they were deemed worthy of elevation to the Louvre, the ultimate goal of any serious artist.<span style="mso-spacerun: yes;"> </span>That changed with the donation to the state of the Caillebotte Bequest, a private collection of Impressionist works that both introduced modern art to the state collections and altered the way works were accessioned by the government. <span style="mso-spacerun: yes;"> </span>The Caillebotte Bequest, other donations and subscriptions used to purchase important works formed the core of the museum’s most important holdings.</span><span style="font-family: "calibri"; font-size: small;">Six meetings, 90 minutes each</span><span style="font-size: small;"> January 25, February 1, 8, 15, 22, March 1, 2018 (day)</span><br /><span style="font-size: small;">March 8, 15, 22, April 5, 12, 19, 2018 (evening)</span></span></div>
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<span style="font-size: 14pt; line-height: 115%;"><span style="font-family: "calibri";">Modern Forms: A History of Sculpture in the Modern Age<o:p></o:p></span></span></div>
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<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";">Follow the history of modern art through the sculptural works of the nineteenth and twentieth centuries in this five part course.<span style="mso-spacerun: yes;"> </span>From its beginnings with the figural works of Auguste Rodin, modern sculpture has developed in parallel with painting, incorporating new themes, working methods and materials into an ever expanding notion of progress and innovation.<span style="mso-spacerun: yes;"> </span>Unlike traditional academic works, sculptures by the early moderns were often controversial and considered radical when they were first exhibited, derided by conservative critics and hailed by their supporters, thereby securing the reputations of their creators as either scandalous or avant garde.<o:p></o:p></span></span></div>
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<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";">The major movements and artists of modernism will be discussed and examined, from the sculptures of Rodin and his contemporaries through the works of the Post Impressionist era, Cubism, Futurism, Dada and Surrealism, Constructivism, Pop, Minimalism, Hyper Realism, Environmental and Earth Works, Conceptual Art and Installation of the late twentieth century.<span style="mso-spacerun: yes;"> </span>Explore various media and techniques in the making of sculpture, including both traditional methods of casting and carving, as well as more contemporary procedures of assemblage and construction.<span style="mso-spacerun: yes;"> </span>A further relationship between sculptural objects and painting will be explored, as artists blurred distinctions separating the two, or alternately, emphasized and heightened their differences.<o:p></o:p></span></span></div>
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<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";">Major works by Rodin, Degas, Maillol, Matisse, Picasso, Brancusi, Gabo, Miro, Calder, Hepworth, Moore, Rauschenberg, Johns, David Smith, Serra, and others will be highlighted and placed within their historical and aesthetic context.<o:p></o:p></span></span></div>
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<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";">Five meetings, including four on campus classroom lectures and a visit to the Dallas Museum of Art and Nasher Sculpture Center to discuss works on view in the galleries.<o:p></o:p></span></span></div>
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<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";">September 14, 21, 28, October 5, 12 </span></span></div>
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Why Is That A Masterpiece? – Ways of interpreting and understanding great art of the modern era </span></span></span></h2>
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<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";">Have you ever wondered why some artworks, and the artists who made them, are so famous (or infamous), or why they are considered to be important?<span style="mso-spacerun: yes;"> </span>Through the use of digital images and classroom discussion, this course will explore works of art from the modern era to discover just why these iconic works, and their often equally iconic creators, hold such a fascination for art historians, other artists and viewers.<span style="mso-spacerun: yes;"> </span>Learn the language of art through these great works as we discuss the usage and meanings of terms such as composition, color, line, shape, volume, perspective, the picture plane and picture space; such art historical terms as the canon of art as taught in government-sponsored academies; the categorization of art known as the hierarchy of genres; and the meaning and origin of the names of art styles such as Impressionism and Cubism.<span style="mso-spacerun: yes;"> </span>The art will be placed in the historical and social context of its making as we explore the events surrounding the work’s inception and creation, and how the work was received by critics, viewers, and other artists then and now.<span style="mso-spacerun: yes;"> </span></span></span></div>
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<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";">The course will focus on ten masterworks by major artists of the modern era.<span style="mso-spacerun: yes;"> </span>In each of the five meetings, students will discuss two of those works in depth, exploring the artist’s intent and the work’s meaning within the larger historical and esthetic context of modern art.<span style="mso-spacerun: yes;"> </span>Other works by the same artist, quotations of the artist from their writings and interviews, and critical reviews and texts from art historians will supplement our discussion and enhance our understanding of each work. </span></span><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";"></span></span></div>
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<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";">The concept of originality is often associated with creativity, and the success or failure of an artwork is closely tied to the artist’s knowledge, appropriation and subversion of tradition, especially in the modern era.<span style="mso-spacerun: yes;"> </span>The identity and role of the artist in society, including how the gender of both the artist and the viewer determines the interpretation and understanding of the work, are closely bound to the limitations or freedoms artists confine themselves to or re-define.<span style="mso-spacerun: yes;"> </span></span></span></div>
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Late 19th century Impressionism will be represented by seminal works of Edgar Degas and Paul Cezanne; early 20th century objects by European masters Henri Matisse, Pablo Picasso, iconoclast Marcel Duchamp and Surrealist Rene Magritte. Works by the early American 20th century modernist Charles Sheeler will be followed by pieces of contemporary artists Ellsworth Kelly, Pop painter James Rosenquist and Conceptual artist Sol Lewitt. </div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: large;"><span style="font-family: "calibri"; font-size: large;"><span style="font-family: "calibri"; font-size: small;"><span style="font-size: 12pt; line-height: 115%;">Explore 19<sup>th</sup> and 20<sup>th</sup> century modern European art from the Phillips Collection in Washington in this three part course, presented in junction with the special exhibition <i style="mso-bidi-font-style: normal;">A Modern Vision: European Masterworks from the Phillips Collection, </i>on view at the Kimbell Art Museum May 14 – August 13, 2017.</span></span></span></span></span></div>
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<span style="font-size: 12pt; line-height: 115%;">This course will chart the progress of the major artists and movements of European modernism as seen through the art on loan from the Phillps Collection, and will be supplemented with discussions of pieces by other major European modernists whose work is not included in the Kimbell exhibition. <span style="mso-spacerun: yes;"> </span>Works from the nineteenth century will include those by Bonnard, Cezanne, Chardin, Constable, Corot, Courbet, Degas, Daumier, Delacroix, Gauguin, Goya, Manet, Redon, Renoir, Rousseau, Morisot, Rodin, Seurat, Sisley, and Van Gogh; the early twentieth century will be represented with pieces by Braque, Gris, Kandinsky, Klee, Kokoschka, Matisse, Miro, Modigliani, Mondrian, Rouault, and Schwitters.<span style="mso-spacerun: yes;"> </span>The course will conclude with a visit to the Dallas Museum of Art to discuss European modern art on view in the museum’s permanent collection galleries.<span style="mso-spacerun: yes;"> </span>Students will compare and contrast works viewed in the classroom via digital images with original paintings and sculptures by those same European masters at the DMA.</span></div>
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<span style="font-size: 12pt; line-height: 115%;">The Phillips opened in 1921 as the first museum devoted to modern art in America, eight years ahead of the Museum of Modern Art in New York.<span style="mso-spacerun: yes;"> </span>Today, the Phillips holds more than 4000 works ranging from French Impressionism to those by contemporary artists, and hosts a variety of traveling exhibitions.</span></div>
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American Prints at the Dallas Museum of Art</div>
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<span style="font-size: small;">June 22 - July 6, 2017</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: large;"><span style="font-family: "calibri"; font-size: large;"><span style="font-family: "calibri"; font-size: small;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";">Explore the history of American printmaking from the colonial era through the twentieth century in this three part course, presented in conjunction with the special exhibition <i style="mso-bidi-font-style: normal;">Visions of America:<span style="mso-spacerun: yes;"> </span>Three Centuries of Prints from the National Gallery of Art</i> at the Dallas Museum of Art from May 28 to September 4, 2017.<span style="mso-spacerun: yes;"> </span></span></span></span></span></span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: large;"><span style="font-family: "calibri"; font-size: large;"><span style="font-family: "calibri"; font-size: small;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";">The trajectory of printmaking in America parallels closely the categories of subject matter used in paintings: portraiture, particularly during the colonial era; landscape, especially prominent in nineteenth century works that incorporate images of pristine wilderness areas and the westward expansion of the United States; cityscapes that present images of twentieth century life in modern urban centers; and contemporary works depicting objects from consumer culture, or border on the purely abstract.<span style="mso-spacerun: yes;"> </span></span></span></span></span></span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: large;"><span style="font-family: "calibri"; font-size: large;"><span style="font-family: "calibri"; font-size: small;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";">Prints have been widely used for centuries as a relatively inexpensive way to disseminate images, and to make the purchase of fine art affordable for collectors. <span style="mso-spacerun: yes;"> </span>Often, prints reproduce images of works from other media, such as painting, and help to both further the fame of the work and the reputation of the artist.<span style="mso-spacerun: yes;"> </span>Generally, prints and other works on paper are on view in museum galleries for much shorter periods of time than paintings or sculptures due to their sensitivity to light, and are displayed with subdued and indirect illumination to protect them.<span style="mso-spacerun: yes;"> </span>This exhibition is thus an opportunity to see in person works that are rarely exhibited, and is a sweeping survey of the history of American art as seen through the medium of printmaking.</span></span></span></span></span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: large;"><span style="font-family: "calibri"; font-size: large;"><span style="font-family: "calibri"; font-size: small;"><span style="font-family: "times new roman";"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";">Prints by American artists from three centuries will be discussed and compared to paintings or sculptures by those same artists and their contemporaries.<span style="mso-spacerun: yes;"> </span>Paul Revere, Thomas Moran, Winslow Homer, James A. M. Whistler, Mary Cassatt, John Sloan, George Bellows, Edward Hopper, Diego Rivera, Romare Bearden, Jackson Pollock, and Andy Warhol are just a few of the 100 artists whose works are included in this touring exhibition of 150 prints.<span style="mso-spacerun: yes;"> </span>Various printmaking techniques, such as lithography and etching, will also be examined.</span></span></span></span></span></span></span></div>
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<span style="font-size: 12pt; line-height: 115%;">Monet and Degas: Two Impressionists, Two Exhibitions</span></h2>
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<span style="font-family: "calibri"; font-size: small;"><span style="font-size: large; line-height: 115%;"><span style="line-height: 115%;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt; line-height: 115%;">Claude Monet</span></b><span style="font-size: 12pt; line-height: 115%;"> (1840 – 1926) is arguably the painter most closely associated with Impressionism, one of the earliest styles in modern art, begun by a group of radical painters in late nineteenth century Paris.<span style="mso-spacerun: yes;"> </span>Monet’s <i style="mso-bidi-font-style: normal;">Impression Sunrise</i>, painted in 1872 and exhibited in the first landmark independent Impressionist exhibition in 1874, gave the movement its name.<span style="mso-spacerun: yes;"> </span>Yet, before Monet began to paint in the loosely brushed, sketchy and colorful manner characteristic of mature Impressionism, his works were more carefully controlled and somber in their coloring.<span style="mso-spacerun: yes;"> </span>Under the influence of his teacher Eugene Boudin (1824 - 1898), Monet worked on site, recording the effects of light and color in landscapes and seascapes on small canvases, then transcribing various details into larger works made in the studio, an acceptable and common academic practice at the time.</span></span></span></span></div>
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<span style="font-family: "calibri"; font-size: small;"><span style="font-size: large; line-height: 115%;"><span style="line-height: 115%;"><span style="font-size: 12pt; line-height: 115%;">Monet’s early work will be examined in the context of the styles and attitudes practiced by his contemporaries the Realists (Gustave Courbet, Edouard Manet) and the artists known as the Barbizon School, painters who worked <i style="mso-bidi-font-style: normal;">en plein air</i> directly before the motif, and who were interested in rendering atmospheric effects of light and color and the science of optics more than in following standard academic practices.<span style="mso-spacerun: yes;"> </span>Early academic works with mythological subject matter by the incipient Impressionists Edgar Degas and Auguste Renoir will also be examined and compared to their own groundbreaking later modern works.<span style="mso-spacerun: yes;"> </span></span></span></span></span></div>
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<span style="font-family: "calibri"; font-size: small;"><span style="font-size: large; line-height: 115%;"><span style="line-height: 115%;"><span style="font-size: 12pt; line-height: 115%;">These artists sought recognition and financial success through the only official channel available to them at the time, the state sponsored Salons, annual or bi-annual fine and decorative arts exhibitions that drew thousands of visitors, and could lead to purchases by the state, coverage in the mainstream press, success as a professor of fine arts, and awards and state or private commissions.<span style="mso-spacerun: yes;"> </span>Rejection by the Salon jury left artists few viable options for promoting, exhibiting, or selling their work.<span style="mso-spacerun: yes;"> </span>Only after abandoning the Salons did the future Impressionists organize their own independent group shows in direct competition with the official exhibition, a promotional tactic which brought them much needed publicity, and simultaneously marked the beginning of the decline in importance of the Salon.</span></span></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt; line-height: 115%;">Edgar Degas </span></b><span style="font-size: 12pt; line-height: 115%;">(1834 – 1917), along with Monet, is one of the founders of the Impressionist movement.<span style="mso-spacerun: yes;"> </span>His emphasis on line rather than color as the primary quality of painting and drawing distinguished his work from the landscape wing of the Impressionist group, with their loose, sketchy paint application.<span style="mso-spacerun: yes;"> </span>Trained in the academic fashion of his day, Degas originally aspired to become a painter of historical and mythological scenes, then considered to be the highest category in the hierarchy of genres, the classification system used to rank works of art by subject matter and relative importance.<span style="mso-spacerun: yes;"> </span>Yet, he was captivated by the experiences of contemporary life in late 19<sup>th</sup> century Paris: strolling the newly built wide boulevards which transformed medieval Paris into a modern city, visiting the opera as both a member of the audience and observer of backstage behaviors, and depicting women in the act of performing their toilette.<span style="mso-spacerun: yes;"> </span>He is mostly closely associated with images of the ballet and ballet dancers, almost always portraying them during rehearsals, unglamorously stretching, yawning, or adjusting part of their costume, or back stage in the company of male season subscribers, who had privileged access to these more intimate areas of the Garnier Opera House.<span style="mso-spacerun: yes;"> </span>A consummate draftsman, Degas constantly refined his images of dancers, bathers, and prostitutes by transferring an image from one work, often made years earlier, to a new context in a different work.<span style="mso-spacerun: yes;"> </span>His use of pastel for his finished works, a medium considered an inferior one to oil paints at the time, further distinguished his work from those of his contemporaries.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The Little Dancer Aged Fourteen</i>, a wax sculpture of a ballerina that incorporated a real tutu and hair ribbon, scandalized the public and critics with its blunt realism when exhibited in the sixth Impressionist exhibition in 1881, and is the only three-dimensional work Degas showed in his lifetime.<span style="mso-spacerun: yes;"> </span>Degas’ late pastels anticipate expressionism in their use of bright, saturated, non-natural colors organized into large, rather flat planes, and are heavily built up with multiple layers of pastel that encrust the surface with a texture akin to the thick impasto in Monet’s late oil paintings of water lilies and his Japanese bridge at Giverny.</span></div>
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<span style="font-size: 12pt; line-height: 115%;">Exploring the full range of Degas prodigious output, we will examine his drawings, paintings, pastels, sculptures and prints, from earlier masterpieces such as <i style="mso-bidi-font-style: normal;">The Bellelli Family</i>, an intense psychological portrait of his aunt’s Italian family, to his late bathers of women in often awkward positions, sponging or drying their bodies while seemingly unaware of the viewer’s presence.</span></div>
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<span style="font-size: 12pt; line-height: 115%;">This course is presented in conjunction with dual exhibitions of works by these artists: <i style="mso-bidi-font-style: normal;">Monet: The Early Years</i> at the Kimbell Art Museum (October 16, 2016 – January 29, 2017) and <i style="mso-bidi-font-style: normal;">Degas: A New Vision</i> at the Museum of Fine Arts, Houston (October 16, 2016 – January 8, 2017).<span style="mso-spacerun: yes;"> </span>The Monet exhibition includes nearly 60 works from the late 1850s through the early 1870s, before the development of his landmark Impressionist paintings, while the Houston exhibition is a career retrospective including approximately 200 works by Degas from public and private collections.</span></div>
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<span style="font-family: "calibri"; font-size: small;"><span style="font-size: large; line-height: 115%;"><span style="line-height: 115%;"><span style="font-size: 12pt; line-height: 115%;">Six meetings, 90 minutes each.<span style="mso-spacerun: yes;"> </span>This course does not include museum visits.</span></span></span></span></div>
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<span style="font-family: "calibri"; font-size: small;"><span style="font-size: large; line-height: 115%;"><span style="line-height: 115%;"><span style="font-size: small;">September 8 - October 13 and </span><span style="font-size: small;"><a href="https://www.blogger.com/null">October</a> 13 - November 17, 2016</span></span></span></span></div>
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Modernism at the Dallas Museum of Art</span></span></span></div>
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<span style="line-height: 115%;">Explore the history of modern and contemporary painting and sculpture at the Dallas Museum of Art.<span style="mso-spacerun: yes;"> </span>In this three part course, we will meet on the SMU campus to view digital images and discuss iconic works of art from the mid nineteenth to late twentieth centuries, then supplement our classroom discussion with a visit to the museum’s galleries of modern American and European art, the Reves Collection, the contemporary spaces, and the sculpture garden to evaluate works in the museum’s permanent collection.<span style="mso-spacerun: yes;"> </span>We will examine American art from the 1850s through the twentieth century, Texas Regionalist art, Impressionism and Post Impressionism, Cubism, Surrealism, abstract art, and post World War II contemporary works, a particular strength of the DMA collection.<span style="mso-spacerun: yes;"> </span>The galleries at the DMA are regularly re-installed, and this is an opportunity to see works from the collection before they are taken off view.</span></div>
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<span style="line-height: 115%;">This course is a general survey of the history of modernism, designed for those wishing a brief introduction to modern artists, works, techniques and concepts.</span></div>
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<span style="line-height: 115%;">Three meetings, 90 minutes each.</span></div>
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<span style="line-height: 115%;">These meetings will take place on the SMU campus and in the galleries at the Dallas Museum of Art.</span></div>
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<span style="font-size: large; line-height: 115%;"> <span style="font-family: "times new roman"; font-size: small;"></span>June 16 - 30, 2016 (daytime) and <a href="https://www.blogger.com/null">July</a> 7 - 21, 2016 (evening)</span></div>
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<span style="font-family: "calibri"; font-size: small;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="font-size: small;"><span style="font-size: large;">Pablo Picasso is undoubtedly the artist most closely associated with modern art, and one of the best known and most prolific artists of all time.<span style="mso-spacerun: yes;"> </span>His myriad styles of image making are bewildering in their complexity, from a tightly controlled naturalism to the near abstraction of his analytical Cubism.<span style="mso-spacerun: yes;"> </span>Yet, while his paintings are the works included among the icons of modern art, Picasso was an equally inventive sculptor, working in styles as varied as his paintings, and in numerous media and techniques, ranging from traditional bronze casting to welded metal assemblages.<span style="mso-spacerun: yes;"> </span>This course will follow the arc of Picasso’s sporadic sculptural output throughout his career, comparing themes and images from his three-dimensional objects with his paintings, drawings and prints.<span style="mso-spacerun: yes;"> </span></span></span></span></span></span></div>
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<span style="font-family: "calibri"; font-size: small;"><span style="line-height: 115%;"><span style="font-size: large; line-height: 115%;">Picasso’s work is almost always autobiographical, a chronicle of his thoughts and feelings regarding his personal interests and relationships, and responses to world events.<span style="mso-spacerun: yes;"> </span>Some of his most powerful works were produced in reaction to the highs and lows of his numerous romantic entanglements, and as a result of his competitive relationships with fellow modern masters Henri Matisse and Georges Braque.</span></span></span></div>
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<span style="font-family: "calibri"; font-size: small;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="font-size: medium;"><span style="font-size: large;">African sculpture and masks, and ancient Spanish (Iberian) sculpture are well documented influences on Picasso’s development of his own sculptural language, particularly in the invention of Cubism, which changed the direction of 20<span style="font-size: xx-small;"><sup>th</sup> <span style="font-size: large;">century art.<span style="mso-spacerun: yes;"> </span>Picasso’s relationship with Fernande Olivier produced what is widely recognized as the first Cubist sculpture, <i style="mso-bidi-font-style: normal;">Head of a Woman (Fernande).<span style="mso-spacerun: yes;"> </span></i>In his series of <i style="mso-bidi-font-style: normal;">Guitars</i>, Picasso explored the increasingly blurred boundaries between two- and three-dimensional art, using simple geometric shapes and volumes as signs for the anatomical details of the stringed instrument.<span style="mso-spacerun: yes;"> </span>His welded wire sculptures (<i style="mso-bidi-font-style: normal;">Project for a Monument to Apollinaire</i>) incorporate empty space as an element of the piece, while his assemblages of cast off scraps and found utilitarian objects allow the sculptures to shift meanings and suggest multiple, often conflicting readings and interpretations.</span></span></span></span></span></span></span></div>
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<span style="font-family: "calibri"; font-size: small;"><span style="line-height: 115%;"><span style="font-size: large; line-height: 115%;">Consisting of illustrated classroom discussion, this course is presented in conjunction with the special retrospective exhibition<i style="mso-bidi-font-style: normal;"> Picasso Sculpture</i> at the Museum of Modern Art, NY (September 14, 2015 – February 7, 2016), featuring more than 100 sculptures and other works by Picasso.</span></span></span></div>
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<span style="font-family: "calibri"; font-size: small;"><span style="line-height: 115%;"><span style="font-size: large; line-height: 115%;">April 7 - April 28, 2016 (daytime) and </span><span style="font-size: large; line-height: 115%;"><a href="https://www.blogger.com/null">May</a> 5 - May 26, 2016 (evening)</span></span></span></div>
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<span style="font-family: "calibri"; font-size: large;"><span style="font-family: "calibri"; font-size: large;"><strong>Gustave Caillebotte – Impressionist Views of Life and Leisure in Modern Paris</strong> </span></span><br />
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<span style="font-family: "calibri"; font-size: large;"><span style="font-family: "calibri"; font-size: large;">Gustave Caillebotte (1848 – 1894) is an often overlooked member of the group of artists known as the Impressionists, yet he was a friend, supporter and discerning collector of their works, organizer and participant in their independent exhibitions, and an important painter of modern life and leisure in his own right.<span style="mso-spacerun: yes;"> </span>His images of pleasure boaters, the boulevards of Paris, of ordinary laborers, and other scenes from everyday life are quintessential Impressionist subject matter, and his <i style="mso-bidi-font-style: normal;">Paris Street, Rainy Day</i> is one of the most instantly recognizable paintings in all of art history.<span style="mso-spacerun: yes;"> </span>Caillebotte occupied a unique position in <i style="mso-bidi-font-style: normal;">fin de siècle</i> Paris, having both the desire and means to support his fellow Impressionists by purchasing their often controversial paintings, thereby giving them much needed financial support, and by producing his own highly Realist paintings that combined traditional academic working methods with modern subjects and themes.<span style="mso-spacerun: yes;"> </span>In this course, Caillebotte’s work will be placed in the context of the sweeping changes brought about by the increasingly rapid pace of modern life in late 19<sup>th</sup> century France, and compared to the works of his fellow Impressionists Renoir, Monet, Degas, and others. In conjunction with the special exhibition <i style="mso-bidi-font-style: normal;">Gustave Caillebotte: The Painter’s Eye</i> at the Kimbell Art Museum (November 8, 2015 to February 14, 2016), this course will explore Caillebotte’s seemingly casual yet meticulously planned paintings, his frustrated efforts to organize and administer the Impressionist group shows, as well as his enormous contribution to the French state of selections from his personal collection of Impressionist paintings that today form the core of the Musee d’Orsay in Paris, itself the greatest repository of modern French painting in the world.</span></span><br />
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: large;"><span style="font-family: "calibri"; font-size: large;">Four meetings, 90 minutes each.</span></span></span><br />
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: large;"><span style="font-family: "calibri"; font-size: large;">January 14 - February 4, 2016 (daytime)</span></span><span style="font-family: "calibri"; font-size: large;"><span style="font-family: "calibri"; font-size: large;"><br /></span></span></span><br />
<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: large;"><span style="font-family: "calibri"; font-size: large;"><a href="https://contsturegister.smu.edu/wconnect/CourseStatus.awp?&course=163IAH465-D">https://contsturegister.smu.edu/wconnect/CourseStatus.awp?&course=163IAH465-D</a></span></span></span><br />
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: small;"><span style="font-size: large; line-height: 115%;">Jackson Pollock and Abstract Expressionism</span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: large;"><span style="font-family: "times new roman"; font-size: xx-small;"></span><br /></span></span><br />
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: x-small;"><span style="line-height: 115%;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: large;">Abstract Expressionism represents a watershed moment in the history of modern art, and for American artists in particular.<span style="mso-spacerun: yes;"> </span>After World War II, American culture emerged as a dominant force in world affairs, including the fine arts.<span style="mso-spacerun: yes;"> </span>New York, after subsuming the influence of modern European masters such as Piet Mondrian and Max Ernst who fled the European conflict, emerged as the art capital of the world, supplanting Paris and decades of French hegemony.<span style="mso-spacerun: yes;"> </span>American artists, still struggling in the first half of the 20<span style="font-size: xx-small;"><sup>th</sup> <span style="font-size: large;">century to create an original American art freed from European constraints, sought solutions by invoking the existential experience of the individual, with the intent to express universal themes of existence using abstract pictorial means.<span style="mso-spacerun: yes;"> </span>These mid-century artists desired to invoke the sublime, the experience that transcends the mundane and the physical to elevate the viewer to a higher plane of consciousness.<span style="mso-spacerun: yes;"> </span>These themes of lofty grandeur connect this group to American landscape painters of the 19<sup>th</sup> century such as Frederic Church and Thomas Cole, who likewise elevated their works through awe-inspiring images of the vast expanses of the American West.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: x-small;"><span style="font-size: large; line-height: 115%;">Jackson Pollock is the artist most closely associated with Abstract Expressionism, and his mural scaled drip paintings completely changed the way painting was conceived, made and interpreted.<span style="mso-spacerun: yes;"> </span>His slinging, dripping method is generally termed action painting, both to invoke the dance-like movement Pollock engaged in while working, and to distinguish his work from the color field wing of Abstract Expressionism, as practiced by such artists as Barnett Newman and Mark Rothko.</span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: x-small;"><span style="font-size: large; line-height: 115%;">Presented in conjunction with the Dallas Museum of Art exhibition <i style="mso-bidi-font-style: normal;">Jackson Pollock: Blind Spots </i>(November 20 – March 20, 2016), this course will focus on the works of the major Abstract Expressionist painters and sculptors, whose eschewal of imagery signaled the only time so far in American art history in which abstraction was the dominant style.<span style="mso-spacerun: yes;"> </span>In addition to the works of Pollock, Newman and Rothko, our discussion will include those of Robert Motherwell, whose series <i style="mso-bidi-font-style: normal;">Elegy to the Spanish Republic</i> are some of best known works of post WWII art; David Smith, whose welded metal sculptures combined industrial techniques with airy, abstract compositions; Willem de Kooning, whose slashing images from his <i style="mso-bidi-font-style: normal;">Woman</i> series<span style="mso-spacerun: yes;"> </span>combined gestural mark marking with recognizable features; Franz Kline, whose greatly enlarged black and white painterly slashes are reminiscent of Asian calligraphy; Clyfford Still, whose craggy flat planes of jagged color invoke the vastness of the western American landscape; Helen Frankenthaler, whose soak and stain paintings are among the first color field paintings, and Ad Reinhardt, whose near monochrome fields of slightly varied blacks test the limits of human perception. <span style="mso-spacerun: yes;"> </span>Quotations from the writings of critic Clement Greenberg will help to contextualize the approaches and works of the artists he championed; Greenberg’s attitudes had an enormous impact on the reception and acceptance of Abstract Expressionism and subsequent art.</span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: small;"><span style="font-size: large; line-height: 115%;">The DMA exhibition and tour will concentrate on Pollock’s Black Paintings, made in the aftermath of his more famous drip paintings.<span style="mso-spacerun: yes;"> </span>The Black Paintings are mostly colorless, and therefore blur distinctions between painting and drawing.</span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: small;"><span style="line-height: 115%;"><span style="font-size: large;">Three meetings, 90 minutes each, including two on-campus discussions and a tour of the DMA special exhibition <i style="mso-bidi-font-style: normal;">Jackson Pollock: Blind Spots.<span style="mso-spacerun: yes;"> </span></i>Museum and exhibition admission included.<span style="mso-spacerun: yes;"> </span></span></span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: large;"><a href="https://contsturegister.smu.edu/wconnect/CourseStatus.awp?&course=163IAH470A-D">https://contsturegister.smu.edu/wconnect/CourseStatus.awp?&course=163IAH470A-D</a></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: medium;"><span style="font-family: "calibri"; font-size: large;">March 10 - March 19, 2016 (evening)</span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-size: large;"><span style="font-family: "calibri"; font-size: medium;"><span style="font-size: x-small;"><span style="font-size: medium;"><span style="line-height: 115%;"><span style="font-size: large;">link to Dallas Museum of Art website exhibition description</span><span style="font-size: x-small;"> </span></span><br /><span style="font-family: "times new roman"; font-size: x-small;"></span></span></span></span><span style="font-family: "calibri"; font-size: medium;"><span style="font-size: x-small;"><span style="font-size: medium;"><span style="line-height: 115%;"><a href="https://www.dma.org/art/exhibitions/jackson-pollock-blind-spots"><span style="color: blue;">https://www.dma.org/art/exhibitions/jackson-pollock-blind-spots</span></a></span></span></span></span></span></span><br />
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: medium;"><span style="font-size: large; line-height: 115%;">Thomas Hart Benton and American Scene Painting</span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: xx-small;"><span style="line-height: 115%;"><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-size: medium;"><span style="font-size: large;"><span style="font-size: xx-small;"><span style="font-size: medium;"><span style="font-size: large;"><span style="font-size: small;"><span style="font-size: large;">Painting in the United States from the Depression to the beginning of World War II is often termed American Scene or Regionalism, due to its focus on images of contemporary, but generally rural, life in America.<span style="mso-spacerun: yes;"> </span>Generally depicting farmers, industrial workers, loggers, and miners, these paintings glorified the ordinary citizen, and elevated the working classes to the status of heroes</span>.<span style="mso-spacerun: yes;"> </span><span style="font-size: large;">Thomas Hart Benton (1889 – 1975) is the artist most closely associated with the movement</span>;</span> his often crowded compositions, elongated figures drawn with writhing contours, and shallow pictorial space thrive with a pulsating energy that revives 16</span></span></span><span style="font-size: xx-small;"><span style="font-size: xx-small;"><span style="font-size: xx-small;"><sup>th</sup> <span style="font-size: large;">century Mannerism updated with images of life in the heartland.<span style="mso-spacerun: yes;"> </span>Benton often worked in mural scale, and received numerous commissions for his work, including for the New School for Social Research in New York, the Missouri State Capitol Building in Jefferson City, and the Harry Truman Presidential Library in Independence. Despite beginning as an abstract painter, Benton later eschewed abstraction in favor of the representational imagery and narrative content for which he is remembered.<span style="mso-spacerun: yes;"> </span>His influence as a teacher at the Art Students League in New York ironically guided the future Abstract Expressionist Jackson Pollock on his way to create his enormous drip paintings, major works of American modernism.<span style="mso-spacerun: yes;"> </span>As abstract art gained ascendency in America and throughout the world, the work of Benton and other Scene painters was marginalized and fell into obscurity.<span style="mso-spacerun: yes;"> </span></span></span><span style="font-size: large;">Today, Benton’s work has been reconsidered by many art historians as invaluable depictions of contemporary life in early 20</span><sup>th</sup> <span style="font-size: large;">century America.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: small;"><span style="font-size: large; line-height: 115%;">In addition to Benton’s work, this course will consider the works of others also classified as Scene painters: Grant Wood (1891 – 1942), whose <i style="mso-bidi-font-style: normal;">American Gothic</i> is one of the most recognizable images in art history, John Steuart Curry (1897 – 1946), inspired by his strong religious training, the light-filled paintings of Edward Hopper (1882 – 1967) that are at once dryly descriptive and eerily evocative, and Texas artist Alexandre Hogue (1898 – 1994), painter of Dust Bowl images that sounded a warning about the demands of humans on natural resources.</span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: small;"><span style="font-size: large; line-height: 115%;">The course will include a visit to the Amon Carter Museum to tour the special exhibition <i style="mso-bidi-font-style: normal;">Thomas Hart Benton and Hollywood</i> (February 6 – May 1, 2016)</span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: small;"><span style="font-size: large; line-height: 115%;">Two meetings: one on-campus meeting and a museum visit, 90 minutes each; museum and exhibition admission included.</span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: large;"><a href="https://contsturegister.smu.edu/wconnect/CourseStatus.awp?&course=163IAH471A-D">https://contsturegister.smu.edu/wconnect/CourseStatus.awp?&course=163IAH471A-D</a></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: small;"><span style="font-family: "times new roman"; font-size: large;">link to Carter website exhibition description</span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-family: "calibri"; font-size: small;"><span style="font-size: large; line-height: 115%;"><a href="http://www.cartermuseum.org/exhibitions/american-epics-thomas-hart-benton-and-hollywood-0">http://www.cartermuseum.org/exhibitions/american-epics-thomas-hart-benton-and-hollywood-0</a></span></span></span><br />
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-size: large;"><span style="font-family: "calibri"; font-size: large;"><br /></span><span style="font-family: "calibri"; font-size: large;"><strong>Pop Art at the Dallas Museum of Art</strong></span></span></span><br />
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-size: large;"><span style="font-family: "calibri"; font-size: large;">Incorporating digital images of artworks and classroom discussion, and concluding with a museum visit to the exhibition <i style="mso-bidi-font-style: normal;">International Pop</i> at the Dallas Museum of Art (October 11, 2015 – January 17, 2016), this course will explore Pop Art, a style that embraces as subject matter the every day, mass produced objects of American consumer culture.<span style="mso-spacerun: yes;"> </span>Historically, Pop Art is generally characterized as a reaction by artists against the heroic, subjective and sublime themes of Abstract Expressionist painting as practiced by artists such as Jackson Pollock and Mark Rothko.<span style="mso-spacerun: yes;"> </span>Although Pop was the dominant visual style of the 1960s in America, its roots extend back into the 1920s, when American artists were attempting to invent an indigenous modernism independent of then-dominant European precedents.<span style="mso-spacerun: yes;"> </span>In rejecting abstraction as a working method, Pop artists returned the representation of images to their artworks.<span style="mso-spacerun: yes;"> </span>Their replication of easily recognized consumer goods such as packaged supermarket foods, comic book images and monumental enlargements of common objects mirrored the way commodities are made in a factory-based culture, and are therefore metaphors of Western style industrial manufacturing, distribution, advertising, and consumption. <span style="mso-spacerun: yes;"> </span>The Pop artists’ use of images of existing objects for their work descends from the ready-mades of Marcel Duchamp, who selected manufactured utilitarian objects and exhibited them unaltered as his own work.<span style="mso-spacerun: yes;"> </span>Although Pop Art is usually associated with American artists such as Andy Warhol, Claus Oldenburg and Roy Lichtenstein, Pop is a global style, practiced by artists in many industrialized and developing countries worldwide.</span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-size: large;"><span style="font-family: "calibri"; font-size: large;">The making of a Pop artwork often replicated the same commercial printing or manufacturing methods that produced the objects depicted in the artworks. Expressionist drips, thickly applied paint and other marks of the hand-made were rejected in favor of silkscreen printing, a process commonly used for the making of posters and T shirts that results in a flat, thin coat of paint, and hand painted works that replicated the appearance of mechanical printing.</span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-size: large;"><span style="font-family: "calibri"; font-size: large;">Stuart Davis and Gerald Murphy are but two early modern American painters to be included in our discussion whose brightly colored, Cubist influenced paintings of urban views and consumer objects anticipated Pop.<span style="mso-spacerun: yes;"> </span>Working in the 1950s, Jasper Johns and Robert Rauschenberg incorporated American imagery and collage techniques into their often heavily impastoed pieces that share characteristics with Pop and often transcend the boundaries between painting and sculpture.</span></span></span><br />
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-size: large;"><span style="font-family: "calibri"; font-size: large;"><strong>Gustave Caillebotte – Impressionist Views of Life and Leisure in Modern Paris</strong> </span></span></span><br />
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-size: large;"><span style="font-family: "calibri"; font-size: large;">Gustave Caillebotte (1848 – 1894) is an often overlooked member of the group of artists known as the Impressionists, yet he was a friend, supporter and discerning collector of their works, organizer and participant in their independent exhibitions, and an important painter of modern life and leisure in his own right.<span style="mso-spacerun: yes;"> </span>His images of pleasure boaters, the boulevards of Paris, of ordinary laborers, and other scenes from everyday life are quintessential Impressionist subject matter, and his <i style="mso-bidi-font-style: normal;">Paris Street, Rainy Day</i> is one of the most instantly recognizable paintings in all of art history.<span style="mso-spacerun: yes;"> </span>Caillebotte occupied a unique position in <i style="mso-bidi-font-style: normal;">fin de siècle</i> Paris, having both the desire and means to support his fellow Impressionists by purchasing their often controversial paintings, thereby giving them much needed financial support, and by producing his own highly Realist paintings that combined traditional academic working methods with modern subjects and themes.<span style="mso-spacerun: yes;"> </span>In this course, Caillebotte’s work will be placed in the context of the sweeping changes brought about by the increasingly rapid pace of modern life in late 19<sup>th</sup> century France, and compared to the works of his fellow Impressionists Renoir, Monet, Degas, and others. In conjunction with the special exhibition <i style="mso-bidi-font-style: normal;">Gustave Caillebotte: The Painter’s Eye</i> at the Kimbell Art Museum (November 8, 2015 to February 14, 2016), this course will explore Caillebotte’s seemingly casual yet meticulously planned paintings, his frustrated efforts to organize and administer the Impressionist group shows, as well as his enormous contribution to the French state of selections from his personal collection of Impressionist paintings that today form the core of the Musee d’Orsay in Paris, itself the greatest repository of modern French painting in the world.</span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-size: large;"><span style="font-family: "calibri"; font-size: large;">Four meetings, 90 minutes each.</span></span></span><br />
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-size: large;">Still Life Painting – Its History and Significance from Antiquity to the Modern Era</span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="line-height: 115%;"><span style="font-family: "calibri";"><span style="line-height: 115%;"><span style="font-family: "times new roman";"><span style="font-family: "calibri";">Still life artworks typically embrace common, prosaic objects as subject matter, and are generally depictions of carefully composed arrangements of small portable items such as fruit, foodstuffs, or personal items on tabletops.<span style="mso-spacerun: yes;"> </span>As a result, because the genre does not include images from history or mythology, still life is generally assigned the lowest position in the hierarchy of genres, the system used by art academies to rank the importance of artworks based on subject matter.<span style="mso-spacerun: yes;"> </span>Despite its seeming insignificance, still life is often imaginatively used by artists to record images of daily life, as a demonstration piece to showcase an artist’s painterly skills, as well as to impart a moral lesson:<span style="mso-spacerun: yes;"> </span>that life is fleeting and transient, as illustrated by the <i style="mso-bidi-font-style: normal;">vanitas</i> and <i style="mso-bidi-font-style: normal;">memento mori</i> themes that often include images of skulls, timepieces, extinguished candles, or perishable items such as flowers.<span style="mso-spacerun: yes;"> </span>In the modern era, artists enthusiastically embraced its low status to both subvert accepted academic standards and to express their own often idiosyncratic positions on the nature of art and life in the 20<span style="font-size: small;"><sup>th</sup> century.</span></span></span></span></span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="line-height: 115%;"><span style="font-family: "calibri";"><span style="line-height: 115%;"><span style="font-family: "times new roman";"><span style="font-family: "calibri";">In conjunction with the special exhibition <i style="mso-bidi-font-style: normal;">American Still Life</i>, on view at the Amon Carter Museum in Fort Worth from February 7 to August 2, 2015, this course will examine still life works from antiquity to twentieth century modernism, exploring the origins of the genre in European art as well as its uniquely American manifestations. Included in our discussion will be a category that is unique to the genre of still life known as <i style="mso-bidi-font-style: normal;">trompe l’oeil</i>, a hyper-realistic technique designed to fool or trick the eye.</span></span></span></span></span></span></div>
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Why Is That A Masterpiece? – Ways of interpreting and understanding great art of the modern era</h2>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";"><span style="font-size: large;"><span style="font-size: 14pt; line-height: 115%;"><span style="font-family: "times new roman"; font-size: small;"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";">January 15 - February 5, 2015 and <br />
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March 5 - 26, 2015<br />
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Have you ever wondered why some artworks, and the artists who made them, are so famous, or why they are considered to be important?<span style="mso-spacerun: yes;"> </span>Through the use of digital images and classroom discussion, this course will explore works of art from the modern era to discover just why these iconic works, and their often equally iconic creators, hold such a fascination for art historians, other artists and viewers.<span style="mso-spacerun: yes;"> </span>Learn the language of art through these great works as we discuss the usage and meanings of terms such as composition, color, line, shape, volume, perspective, the picture plane and picture space; such art historical terms as the canon of art as taught in government-sponsored academies; the categorization of art known as the hierarchy of genres; and the meaning and origin of the names of art styles such as Impressionism and Cubism.<span style="mso-spacerun: yes;"> </span>The art will be placed in the historical and social context of its making as we explore the events surrounding the work’s inception and creation, and how the work was received by critics, viewers, and other artists then and now.<span style="mso-spacerun: yes;"> </span></span></span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";"><span style="font-size: large;"><span style="font-size: 14pt; line-height: 115%;"><span style="font-family: "times new roman"; font-size: small;"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";"><span style="font-family: "times new roman";"></span><br /></span></span></span></span></span></span></span></span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";"><span style="font-size: large;"><span style="font-size: 14pt; line-height: 115%;"><span style="font-family: "times new roman"; font-size: small;"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";">The concept of originality is often associated with creativity, and the success or failure of an artwork is closely tied to the artist’s knowledge, appropriation and subversion of tradition, especially in the modern era.<span style="mso-spacerun: yes;"> </span>The identity and role of the artist in society, including how the gender of both the artist and the viewer determines the interpretation and understanding of the work, are closely bound to the limitations or freedoms artists confine themselves to or re-define.<span style="mso-spacerun: yes;"> </span>The artists themselves will be given a voice with quotations from their writings and interviews as they describe their intentions and often idiosyncratic ideas about their own work and that of other artists.<span style="mso-spacerun: yes;"> </span></span></span></span></span></span></span></span></span></span></span><br />
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Faces of Impressionism - Portraits From the Musee d'Orsay, Paris. Four Thursdays, October 2 - 23, 2014<br />
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-size: medium;"><span style="font-size: 12pt; line-height: 115%;"><span style="font-size: large;"><span style="font-size: 14pt; line-height: 115%;"><span style="font-family: "times new roman"; font-size: small;"><span style="font-size: 14pt; line-height: 115%;"><span style="font-family: "calibri";"><span style="font-family: "calibri";">This four part course will bring into focus some of the best known and most studied artworks of the modern era: Impressionist portraiture from the second half of the 19<sup><span style="font-size: x-small;">th</span></sup> century, the subject of the special exhibition at the Kimbell Art Museum <i style="mso-bidi-font-style: normal;">Faces of Impressionism: Portraiture from the Musee d'Orsay </i> (October 19, 2014 – January 25, 2015), consisting of loans from the Musee d’Orsay in Paris, largest depository of Impressionist art in the world.<span style="mso-spacerun: yes;"> </span>(</span><a href="https://www.kimbellart.org/exhibition/faces-impressionism-portraits-musée-d'orsay"><span style="color: blue; font-family: "calibri";">https://www.kimbellart.org/exhibition/faces-impressionism-portraits-musée-d’orsay</span></a><span style="font-family: "calibri";">). The Impressionist artists were concerned with images of the world around them, often painted in a sketchy or unfinished-looking style, which set them apart from the Academic traditions of their more classically trained contemporaries.<span style="mso-spacerun: yes;"> </span>The special camaraderie they shared is evidenced through their independent group exhibitions set up in opposition to the official government-sponsored Salons, and in their use of each other as subjects for their often controversial paintings.<span style="mso-spacerun: yes;"> </span>Through the use of digital images and classroom discussion of the approximately 70 works included in the exhibition, we will explore Edgar Degas’ <i style="mso-bidi-font-style: normal;">The Bellelli Family, </i>Paul Gaugin’s<i style="mso-bidi-font-style: normal;"> Self Portrait with Yellow Christ, </i>Pierre-Auguste Renoir’s<i style="mso-bidi-font-style: normal;"> Young Women at the Piano, </i>and Edouard Manet’s<i style="mso-bidi-font-style: normal;"> Portrait of Emile Zola, </i>as well as<i style="mso-bidi-font-style: normal;"> </i>Impressionist portraits and populated interiors and landscapes from other museum collections.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Note</i>:<span style="mso-spacerun: yes;"> </span>this course does not include an exhibition visit to the Kimbell.</span></span></span></span></span></span></span></span></span><br />
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Masterworks of 19th Century Art – David to Van Gogh</h2>
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July 10 and 12, July 31 and August 2, 2014</div>
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The early 19th century witnessed the domination of two seemingly incompatible styles of painting: Neoclassicism and Romanticism, while by mid century these traditions were being challenged by the upstart Realists and Impressionists, which ushered in the beginning of modern art. This two part course will explore major paintings by artists working during this period, moving through such diverse styles as the Neoclassicism of David, the Romanticism of Delacroix and Gericault, the Realism of Courbet and Manet, the Impressionism of Degas and Renoir, and the Post Impressionism of Seurat and Van Gogh. One meeting will focus on important paintings by these artists aided by the use of digital images in a classroom setting, while the second meeting will be held in the galleries at the Dallas Museum of Art special exhibition The Mind’s Eye: Masterworks on Paper (June 29 – October 26, 2014), dedicated to drawings, prints, watercolors, and other works on paper by these same artists, many drawn from the museum’s permanent collection and including some privately owned works. Museum and exhibition admission included, 2 sessions, 90 minutes each, </div>
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PICASSO, MATISSE AND A DIALOG OF IMAGES</div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";"><span style="font-size: 14pt; line-height: 115%;"><span style="font-family: "times new roman"; font-size: small;"><span style="font-size: large;"></span><span style="font-size: small;">Four Thursdays, March 6 -27, 2014</span></span></span></span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="font-size: medium;"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";"><span style="font-size: large;"><span style="font-size: 14pt; line-height: 115%;"><span style="font-family: "times new roman"; font-size: small;"><span style="font-size: 14pt; line-height: 115%;"><span style="font-family: "calibri";">Pablo Picasso and Henri Matisse are titanic forces in the art of the twentieth century, and like most modern artists, they actively followed and saw each other’s work.<span style="mso-spacerun: yes;"> </span>They often responded to these works through their own paintings, drawings and sculptures, and in so doing, created one of the richest visual dialogs in the history of art.<span style="mso-spacerun: yes;"> </span>These responses began around the time of their initial meeting in 1906 when the avant garde writer Gertrude Stein collected the works of both artists, and the dialog was continued by Picasso even after the death of Matisse in 1954.<span style="mso-spacerun: yes;"> </span>Through classroom discussion and aided by digital images, the course will explore the complicated and often contentious relationship between the two artists, as each would pass through periods of working with their own strengths (color and composition for Matisse, stylistic and technical variance for Picasso), and alternately invading the territory of the other in a game of aesthetic brinksmanship that challenged the other’s mastery of his craft.<span style="mso-spacerun: yes;"> </span>This dialog includes some of the most radical and progressive works in modern art, such as Matisse’s <i style="mso-bidi-font-style: normal;">Woman With A Hat</i>, <i style="mso-bidi-font-style: normal;">Blue Nude</i> and <i style="mso-bidi-font-style: normal;">Music </i>and <i style="mso-bidi-font-style: normal;">Dance</i> murals, and Picasso’s <i style="mso-bidi-font-style: normal;">Portrait of Gertrude Stein</i>, <i style="mso-bidi-font-style: normal;">Three Musicians</i>, and <i style="mso-bidi-font-style: normal;">Mother And Child</i>.<span style="mso-spacerun: yes;"> </span>We will trace the many points of connection and overlap in their lives, their personal triumphs and setbacks, their responses to two world wars, their exhibitions, the dealers and collectors who supported them, the acquiring of each other’s works, and what each had to say about the other.<o:p></o:p></span></span></span></span></span></span></span></span></span><br />
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="mso-tab-count: 5;"><span style="font-size: small;"><span style="font-size: 14pt; line-height: 115%;"><span style="font-family: "calibri";">PICASSO, MATISSE AND EARLY TWENTIETH CENTURY MODERN ART:<span style="mso-spacerun: yes;"> </span>LOANS FROM THE ART INSTITUTE OF CHICAGO</span></span></span></span></span><br />
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="mso-tab-count: 5;"><span style="font-size: small;"><span style="font-size: 14pt; line-height: 115%;"><span style="font-family: "calibri";">October 10 - November 7, 2013</span></span></span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="mso-tab-count: 5;"><span style="font-size: small;"><span style="font-size: 14pt; line-height: 115%;"><span style="font-family: "calibri";">January 16 - February 6, 2014</span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-size: x-small;"></span><br /></span><span style="font-size: small;"><span style="font-size: 14pt; line-height: 115%;"><span style="font-family: "calibri";">Join this four part classroom voyage through the special exhibition <i style="mso-bidi-font-style: normal;">The Age Of Picasso And Matisse: Modern Masters From The Art Institute Of Chicago</i>, on view at the Kimbell Art Museum October 6, 2013 – February 16, 2014.<span style="mso-spacerun: yes;"> </span>This overview of early twentieth century modernism will focus on loans from the Art Institute to the Kimbell while the Institute’s galleries are being renovated.<span style="mso-spacerun: yes;"> </span>This exhibition is not a tour, so the Kimbell will be the only venue to show these landmark works.<o:p></o:p></span></span></span><br /><span style="font-size: small;"><span style="font-size: x-small;"></span><br /></span><br />
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="mso-tab-count: 5;"><span style="font-size: small;"><span style="font-size: 14pt; line-height: 115%;"><span style="font-family: "calibri";">Through the use of digital images and classroom discussion, we will explore works in the exhibition as well as those by other artists that helped define modern art in the first half of the twentieth century.<span style="mso-spacerun: yes;"> </span>Both the course and the exhibition will guide students through the major developments of Fauvism, Cubism, Expressionism, abstract art, Dada and Surrealism, all of which changed the direction of art history and continue to reverberate through contemporary art.<span style="mso-spacerun: yes;"> </span>The course will serve as an excellent primer to those visiting the Kimbell exhibition, as well as survey the larger context of twentieth century modern art. <o:p></o:p></span></span></span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="mso-tab-count: 5;"><span style="font-size: small;"><span style="font-size: 14pt; line-height: 115%;"><span style="font-family: "calibri";">Nearly 100 objects will be on view in the exhibition, including ten works each by Henri Matisse and Pablo Picasso.<span style="mso-spacerun: yes;"> </span>On the exhibition checklist are <i style="mso-bidi-font-style: normal;">Bathers By A River </i>by Matisse; <i style="mso-bidi-font-style: normal;">Mother And Child</i> by Picasso, <i style="mso-bidi-font-style: normal;">Golden Bird</i> by Constantin Brancusi, part of his highly polished sculptural series of increasingly reductive images of flight; <i style="mso-bidi-font-style: normal;">Still Life With Glass, Dice, Newspaper And Playing Card</i> by Georges Braque, who along with Picasso, is one of the inventors of Cubism; <i style="mso-bidi-font-style: normal;">Improvisation No. 30</i> by Wassily Kandinsky and <i style="mso-bidi-font-style: normal;">Composition No. 1 (Gray Red)</i> by Piet Mondrian, both pioneers of abstract art; and <i style="mso-bidi-font-style: normal;">Personages With Star</i> by Joan Miro, one of the major figures of Surrealism.<span style="mso-spacerun: yes;"> </span></span></span></span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="mso-tab-count: 5;"><span style="font-size: 14pt; line-height: 115%;"><span style="font-family: "calibri";">MODERN SCULPTURE AT THE NASHER<o:p></o:p></span></span><span style="font-family: "calibri"; font-size: medium;"> </span><br />
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><span style="mso-tab-count: 5;"><span style="font-size: small;"><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "calibri";"><span style="font-size: medium;"><span style="font-size: 14pt; line-height: 115%;">Encounter modern and contemporary sculpture on a guided tour in the light filled galleries of the world renowned Nasher Sculpture Center.<span style="mso-spacerun: yes;"> </span>This course will explore works from the permanent collection inside the Renzo Piano designed building, and the outdoor garden.<span style="mso-spacerun: yes;"> </span>We will also tour the special exhibition <i style="mso-bidi-font-style: normal;">Return To Earth:<span style="mso-spacerun: yes;"> </span>Ceramic Sculpture of Lucio Fontana, Fausto Melotti, Joan Miro, Isamu Noguchi, and Pablo Picasso 1943-63</i>, on view September 21, 2013 through January 19, 2014.<span style="mso-spacerun: yes;"> </span>Two hours, museum admission included.<span style="mso-spacerun: yes;"> </span></span></span></span></span></span> </span></span></div>
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<span style="font-size: small;"></span><br /><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">This course will focus on ten iconic modern and contemporary artworks, all supreme examples of each artist’s vision and maturity, and often marking a turning point in their respective careers and the direction of modernism.<span style="mso-spacerun: yes;"> </span>Over five meetings, we will discuss two works in each class, illustrated by high quality digital images of the work under consideration as well as others by the same artist, and each work will be set within the context of the artist’s larger body of work, and within the backdrop of modernism as a whole.<span style="mso-spacerun: yes;"> </span>This course is ideal for those who wish to take a sustained look at some of the key works of modern art.<span style="mso-tab-count: 1;"> </span><o:p></o:p></span><br />
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<i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">The Age Of Bronze </span></i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">by Auguste Rodin is widely considered to be the first mature work by the founder of modern sculpture, and therefore occupies a pivotal place in the history of modernism.<span style="mso-spacerun: yes;"> </span>Rodin’s abandonment of academic conventions, such as narrative, and study of the actual appearance of the model led to accusations that the sculpture was cast from life, rather than modeled in clay by the artist.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span><br />
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Georges Seurat’s<i>Sunday Afternoon On The Island Of La Grande Jatte</i> is a supreme example of the Post Impressionist style of painting known as Pointillism, for its distinctive pattern of colored dots covering the painting’s surface, and is undoubtedly one of the most famous paintings ever made.<span style="mso-spacerun: yes;"> </span>Seurat’s cool, analytical style drew heavily upon scientific theories of color and optics, and his calculated method was in marked contrast to the sketch-like, improvisational method of the Impressionists. <o:p></o:p></span><br />
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<i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Still Life With Plaster Cupid</span></i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">by Paul Cezanne is one of the landmark works of Post Impressionism, and signals Cezanne’s desire to return to painting an emphasis on structure and geometric underpinnings, as opposed to the optical effects of Impressionist painting.<span style="mso-spacerun: yes;"> </span>His use of passage, or the conflation of one object in the painting with another, created a tension between the depiction of three-dimensional space and the flatness of the picture surface that has resonated through modernism since. <o:p></o:p></span><br />
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<i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Blue Nude (Memory Of Biskra) </span></i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">by Henri Matisse embraced Matisse’s notion of the decorative in painting, which for him meant the inventive, subjective use of sinuous line and often non-naturalistic color to describe forms, rather than traditional perspective.<span style="mso-spacerun: yes;"> </span>The painting created a scandal when shown at the Armory Show in New York City in 1913.<o:p></o:p></span><br />
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<i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Fountain</span></i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"> by Marcel Duchamp ushered into the lexicon of art history the word “readymade,” Duchamp’s term of choice for a functional object not made by him, taken from its context as a useable object, and placed within an art gallery context, thereby transforming it into art simply by declaration of the artist.<span style="mso-spacerun: yes;"> </span>Duchamp’s choice of an ordinary porcelain urinal to be exhibited unaltered by him as an original work of art changed the conception of what an artwork can be, and the role of the artist in society. <o:p></o:p></span><br />
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Pablo Picasso’s <i>Guernica</i>is one of the most politically charged paintings in modern art history.<span style="mso-spacerun: yes;"> </span>Recording Picasso’s reaction to the German bombing of the Basque town of Guernica, the mural-sized canvas employed the language of Cubism and a stark black, white and gray palette to chronicle destruction and death by one of the first uses of the airplane as a weapon of war. <o:p></o:p></span><br />
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Charles Sheeler’s glorification of the machine aesthetic reached a pinnacle in <i>Rolling Power</i>, one of six works commissioned by Fortune Magazine in 1939 on the subject of power and American technology.<span style="mso-spacerun: yes;"> </span>Dubbed Precisionism by critics because of its emphasis on the depiction of machine imagery, crisp, hard edged forms, and reliance on photography as a source for the painting, Sheeler’s work bridged the gap between representational and abstract painting. <o:p></o:p></span><br />
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<i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Broadway Boogie Woogie</span></i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">by Piet Mondrian is the final completed work by the pioneer of abstract painting.<span style="mso-spacerun: yes;"> </span>After inventing his distinctive language of flat, primary colored planes bound by vertical and horizontal black lines, Mondrian moved from Paris, then London, to New York City to escape the ravages of the second world war, to find new inspiration in the gridded streets, bright lights and jazz music of the modern city. <o:p></o:p></span><br />
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Jackson Pollock’s <i>Cathedral</i> is one of the earliest of his drip paintings, made by dripping thinned industrial paints directly onto raw canvas lying on the floor, and a highlight of the Dallas Museum of Art collection.<span style="mso-spacerun: yes;"> </span>This technique was a breakthrough for Pollock and his work, which was dubbed by critics Abstract Expressionism, for its lack of recognizable subject matter and the existential, heroic attitude assumed by Pollock when making these works.<o:p></o:p></span><br />
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<i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Campbell’s Soup Cans</span></i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">by Andy Warhol embraced the low imagery of popular culture as appropriate subject matter for works of art.<span style="mso-spacerun: yes;"> </span>The very ordinariness and ubiquity of Warhol’s imagery came to signify the dominance of American consumer goods and culture worldwide. <o:p></o:p></span><br />
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;">The only work on this list no longer in existence, <i>Tilted Arc</i> by Richard Serra was a monumental 120 foot curving steel wall commissioned by the US government to stand before a federal courthouse building in New York City.<span style="mso-spacerun: yes;"> </span>From the beginning, Serra planned the piece as a site-specific installation, regarding it as belonging only to the space for which it was designed.<span style="mso-spacerun: yes;"> </span>The resulting court case to have it removed changed how public art in the US is commissioned and installed. </span><br />
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<span style="font-size: small;">FOUR</span> MODERN MASTERS</div>
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<span style="font-size: medium;">October 25 - November 15, 2012</span></div>
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<span style="font-size: medium;"><br /><br />Four Modern Masters will focus on the work of four of the most radical and influential artists of the modern age: Auguste Rodin, Constantin Brancusi, Pablo Picasso, and Piet Mondrian. This course is ideal for those who wish to take a more sustained look at the work of these important pioneers. We will devote an entire class meeting to each of these artists, placing their work within the context of their times and within that of modernism as a whole.</span><span style="font-size: medium;">Auguste Rodin is widely considered to be the first modern sculptor. His frequent employment of rough facture in his finished works that reveal the workings of his hand and marks of the sculptor’s tools, rejection of narrative as an accepted genesis for the work, willingness to alter a work previously considered to be finished, and recognition of the truly three dimensional nature of sculpture in the round all revealed his departure from accepted norms and academic standards. Rodin’s realism concerned both his expression of an often profound emotional content of the figures themselves, and his belief that artists were free to devise their own standards. These concepts were revolutionary in their influence, and changed the direction of sculpture in the modern age. His use of bronze as a preferred medium for his work reaches back to antiquity, and his conception of sculpture as monument links him to the Renaissance works of Michelangelo. Major works to be discussed include his important Age Of Bronze (a highlight of the Nasher Sculpture Center collection), Burghers Of Calais, and Gates Of Hell.</span></div>
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<span style="font-size: medium;">Although employed by Rodin as a studio assistant, Constantin Brancusi broke with Rodin’s conception of the method of making sculptural form. Brancusi’s belief that sculpture should be carved, and not modeled, as was Rodin’s method, and his search for a sculptural essence devoid of emotional expression, led him to reduce his work to simple geometric volumes and smooth, often highly polished surfaces. His tendency toward greater abstraction is exemplified by his work in series, particularly on the theme of the Kiss, Birds In Space, and portrait heads.<br /><br />Pablo Picasso’s myriad styles, methods and techniques reflect his gargantuan abilities as a painter, draftsman, sculptor, and printmaker. He seemingly effortlessly mastered all manner of depicting his subjects, from highly representational to the nearly abstract. As a co-inventor (along with Georges Braque) of Cubism, his influence reached into subsequent developments in twentieth century art. Some of the works to be discussed are his Blue and Rose period paintings, the pre-Cubist Les Demoiselles d’Avignon, analytical and synthetic Cubist works, papiers colles, and the politically charged Guernica.<br /><br />Piet Mondrian’s flat planes of pure primary colors bounded by horizontal and vertical lines are among the first purely abstract art, and the most instantly recognizable. His paintings, writings, even the arrangement of his studio have been enormously influential on subsequent artists. We will examine his early Impressionist influenced landscapes, through his Cubist phase, on to his mature Compositions, to his final sublime pieces created during his last years in New York City.</span></div>
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<span style="font-size: medium;"><br /></span><span style="font-family: "arial";">IMPRESSIONISM: TRADITION AND THE BEGINNING OF MODERN ART<br />
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April 5-26, 2012<br />
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Impressionism is perhaps the most widely known and beloved of all styles in modern art, yet its acceptance when it first appeared in the 1860's was far from universal. Deliberately courting controversy by choosing the low genre of landscape, and scenes of contemporary life, the Impressionists rejected the academic strictures of traditional art, both in subject matter and technique. The Impressionist painters challenged long accepted standards of finish by applying unmixed colors directly to the canvas, often with rough brush strokes that blurred distinctions between finished work and sketch. Yet despite staging their own independent exhibitions apart from the official state sponsored Salons, some the Impressionists still sought acceptance through this more established institution, even as their own working methods and marketing strategies both changed and weakened the Salon system. <br />
Through the use of digital images and classroom discussion, this four part course will consider the works of the major, core Impressionists from the beginning of the movement through the end of the nineteenth century, and into the twentieth as the impact of these early modern works continued to influence the course of modernism. While taking a broad view of Impressionist works that are now widely dispersed in museum collections worldwide, many of the paintings discussed with be those from the special exhibition <i>The Age Of Impressionism: Great French Paintings From The Clark</i>, consisting of loans from the Sterling and Francine Clark Art Institute in Williamstown, MA, on view at the Kimbell Art Museum, March 11 - June 17, 2012 (<a href="https://www.kimbellart.org/Exhibitions/Exhibition-Details.aspx?eid=75"><u><span style="color: blue;">https://www.kimbellart.org/Exhibitions/Exhibition-Details.aspx?eid=75</span></u></a>). The course will explore major works by the core Impressionists such as Claude Monet, Edgar Degas, Pierre Renoir and Camille Pissaro, as well as important but lesser known artists such as Gustave Caillebotte, and also investigate the works of the Realist painters Gustave Courbet and Edouard Manet, contemporaries and precursors of the Impressionists and major influences upon them. Also examined will be the origin and context of the word "Impressionism," as well as how the artists to whom it was applied used it to their advantage, and the critical and public reception of these important works.<br />
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MODERN AMERICAN ART IN THE JAZZ AGE<br />
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May 3-17, 2012<br />
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Two on campus digital image supplemented meetings on modern American art of the 1920s will precede a private, guided tour of the Dallas Museum of Art special exhibition <i>Youth And Beauty: Art Of The American Twenties</i>. The exhibition will include more than one hundred thirty paintings, sculptures and photographs by sixty five artists, notably those of Georgia O’Keeffe, Alfred Stieglitz, Charles Sheeler, Gerald Murphy, and Edward Hopper.</span></div>
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<span style="font-family: "arial";"><sup><span style="font-size: large;">CUBISM AT THE KIMBELL</span></sup><br />
<sup><span style="font-size: large;">July 23, 2011</span></sup><br />
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<span style="font-family: "tahoma";">Take a private, guided tour of the summer special exhibition <em><span face=""tahoma" , "sans-serif"">Picasso And Braque: The Cubist Experiment 1910-12 </span></em>at the Kimbell Art Museum. This focused show will consist of 15 paintings and 20 works on paper made during a period of intense collaboration between the Cubist masters as they revolutionized the development of Western art through radical departures from accepted norms of representation in the Analytical phase of Cubism. This course will be held in the galleries of the Kimbell Art Museum in Fort Worth. Admission included.</span><br />
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THE ART OF COLLAGE: ITS HISTORY AND MEANING<br />
<span style="font-family: "arial";">Feb. 24 - Mar 10, 2011<br />
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In this three part course, the twentieth century technique of collage will be explored and interpreted. Beginning with the Cubists’ use of pasted papers (papier colle), they as well as other artists from diverse backgrounds began to employ this quick and highly inventive method of making art. Through the use of printed materials such as photographs and tromp l’oeil papers, artists quickly realized and capitalized on the multiple associations of this method, which included political satire as well as works that questioned accepted notions of perception. Collage can incorporate a variety of materials, including anything from other art to discarded found items. <br />
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Cubist artists such as Picasso and Braque often drew or painted on the collage after pasting the cut papers. The Dadaists, employing the technique of photomontage (cropped and pasted photographs from diverse sources), made satirical pieces critical of Nazi Germany, often incorporating text from newspapers to create bizarre and unsettling works that challenged the accepted veracity of the photograph as an objective record of perceptual vision. Later, the Surrealists juxtaposed images in bizarre combinations to invoke dreams and unconscious meaning. The Abstract Expressionists, Pop and abstract artists all used collage either as a method of study for larger works, or as finished works in themselves. Many contemporary artists use the concept of collage to make works in more traditional media such as oil painting or metal sculpture.<br />
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An optional third meeting will be offered to those who wish to attend a session to make their own collages. <br />
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THE TWENTIETH CENTURY: MID TO LATE CENTURY (ABSTRACT EXPRESSIONISM; JASPER JOHNS AND ROBERT RAUSCHENBERG; POP ART; MINIMALISM, CONCEPTUAL ART AND EARTHWORKS)<br />
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Mar 24 - Apr 14, 2011<br />
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Through classroom discussion and the use of digital images, this four part course will explore and discuss the major artists and movements of the second half of the twentieth century. <br />
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Many European modern art masters who fled to the U.S. to escape the destruction of World War II exerted a sustained influence on their American counterparts. As America emerged from the war years a superpower, American artists were poised like never before to dominate the art world. With the rise of Abstract Expressionism, New York City supplanted Paris as the world’s art capital. Painters as diverse as Jackson Pollock and Mark Rothko, and the sculptor David Smith inherited the influence of the subconscious dream world of the Surrealists and the utopian, abstract vision of Piet Mondrian. The painters' heroically scaled canvases invoking vast pictorial spaces while recording the movements of the painter’s progress in making the work emphasized an existential view of contemporary life.<br />
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Following the heyday of mural scaled painting by the Abstract Expressionists, the works of Jasper Johns and Robert Rauschenberg returned imagery to American art, embracing common vernacular subject matter. Their work belongs to no specific movement, yet incorporates attitudes and techniques of preceding styles such as Dada and Cubism, and pointed in the direction of Pop Art. Johns paintings of familiar American motifs such as flags, targets and numbers are ironically ambiguous and confound a reading of the traditional pictorial space, while Rauschenberg’s collage approach and mastery of diverse materials are a metaphor for our media-dominated culture.<br />
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Pop Art is the most distinctly American style of the twentieth century, in that it embraces American consumer culture of mass produced items, often incorporating humor in its choice of the mundane and ordinary as subject matter. Andy Warhol’s repeating images of Campbell’s soup cans and Marilyn Monroe mirror the mass overload of sensory data in contemporary life, while Roy Lichtenstein’s comic book paintings blurred distinctions between high art and commonplace imagery.<br />
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Minimal Art, while coexistent with Pop, is visually and conceptually at an opposite pole. Emphasizing geometry and the purely abstract, much Minimal work is industrial, mathematical and highly self-referential. Donald Judd designed rigorously precise works made of industrial, non-traditional materials that were manufactured by others, while Dan Flavin utilized ordinary florescent lighting to redefine the viewer’s experience of the object and its surrounding space. Conceptual art denied the validity of the art object, placing value instead on the idea of a work of art rather than the making of a physical piece. Sol Lewitt, whose Notes on Conceptual Art are among the landmark writings of contemporary art, began making Wall Drawings in the late 60's, artworks installed by assistants directly onto the walls of buildings according to detailed written instructions. Earth Works or Land Art are often environmentally scaled works placed in remote locations far from cities and outside the typical realm of the art gallery or museum space. Robert Smithson applied simple geometry to massive, site specific works made of dirt and rock by earth moving equipment.</span><br />
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<span style="font-family: "arial";"> </span>MODERN ART FOR A MODERN AMERICA<br />
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January 28 - February 18, 2010<br />
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This course will focus on the painting and sculpture of American artists in the modern age. Beginning with colonial painting to briefly establish context, the course will chart the development of the visual arts in the U.S., focusing on the shock of the Armory Show, the 1913 exhibition of modern art that alerted many American artists and the public to advanced developments in Europe; art between the wars, and post WW II art, the period in which American art began to dominate the world stage with Abstract Expressionism, and New York became the center of the art world. The course will conclude with the works of artists whose post modern concepts often reflect their immigrant roots or minority status, and cross genres outside traditional boundaries.<br />
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THE TWENTIETH CENTURY - BEGINNINGS TO MID CENTURY (LATE IMPRESSIONISM AND FAUVISM, CUBISM, DADA AND SURREALISM, AND ABSTRACT ART)<br />
September 9 - 30, 2010<br />
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Through the use of digital images and classroom discussion, the major modern works and artists of the first half of the twentieth century will be presented and compared in this four part course. The pace of change and invention in the visual arts was at its peak during this period, as artists experimented with new techniques, materials, and attitudes toward the greatly expanded potentialities of painting and sculpture. The course will show that, while many of these movements are often viewed as rigid and sequential, their borders are in fact more fluid, as they overlapped and competed with each other, and that the artists themselves changed approaches and styles frequently.<br />
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This course will begin with an exploration of the late works of artists generally associated with nineteenth century modernism, but who produced works of significance and lasting influence at the end of their careers in the twentieth century and whose lives overlapped such early twentieth century movements as Cubism and the beginning of abstract art. The late, mature works of Paul Cezanne, Edgar Degas, Claude Monet and Auguste Rodin, usually associated with Impressionism and Post-Impressionism, will be recontextualized and shown as anticipating the works and thought of later twentieth century art. This period overlaps Fauvism, the first major style of the twentieth century, in which the "wild beasts," led by Henri Matisse, painted canvases that relied on bright, non-naturalistic color alone to describe objects and structure pictorial space.<br />
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The tendency toward the purely abstract is the most distinctive legacy of twentieth century visual art, which succeeded in divorcing art from the world of fidelity to nature and freed artists to explore the limits of their creativity. Claiming a deeply spiritual aspect to their work, artists such as Piet Mondrian, Wassily Kandinsky and Kasimir Malevich pioneered the use of color and form to completely abstract ends as carriers of meaning that are broadly universal and specifically modern. <br />
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Cubism is the most radical and influential of all twentieth century movements. The works of Georges Braque and Pablo Picasso questioned the very nature of pictorial and sculptural space and challenged assumptions about art held since the Renaissance by dissolving contours of objects, the distinctions between objects and the surrounding space, and altering the role of the viewer in interpreting and understanding their work. These artists’ invention of papier colle and collage introduced mixed media and a sly wit into art, expressing the heterogenous nature of modern life. The works of other important Cubists, such as Juan Gris and Jacques Lipchitz, will also be analyzed.<br />
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The iconoclastic movements Dada and Surrealism challenged the established norms of society through anti-art performances and objects. Marcel Duchamp, whose readymades (ordinary objects chosen by Duchamp to be exhibited as art) profoundly altered the role of the artist, spawned diverse movements whose repercussions are still being explored by contemporary artists. Surrealism overthrew the dominance of perception as the only source for visual art by incorporating dreams, the subconscious, and free association as material. The works of Rene Magritte, Joan Miro and others explore the playfulness, childlike simplicity, and often bizarre juxtapositions of the world of the imagination.<br />
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FOUR MODERN MASTERS<br />
March 30 - April 20, 2009<br />
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Four Modern Masters will focus on the work of four of the most radical and influential artists of the twentieth century: Pablo Picasso, Henri Matisse, Piet Mondrian, and Marcel Duchamp. This course is ideal for those who wish to take a more sustained look at the work of these important pioneers. We will devote an entire class meeting to each of these artists, placing their work within the context of their times and within that of modernism as a whole.<br />
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Picasso’s myriad styles, methods and techniques reflect his gargantuan abilities as a painter, draftsman, sculptor, and printmaker. He seemingly effortlessly mastered all manner of depicting his subjects, from highly representational to the nearly abstract. Some of the works to be discussed are his Blue and Rose period paintings, the pre-Cubist Les Demoiselles d’Avignon, analytical and synthetic Cubist works, and the politically charged Guernica.<br />
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Matisse’s marriage of sinuous line and saturated color with images of the human figure, still life and landscape redefined representational painting and sculpture, and solidified the artist’s role in determining the autonomy of the art object. The infamous Blue Nude, the Back reliefs, and his late paper cut outs will be included.<br />
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Mondrian’s flat planes of pure primary colors bounded by horizontal and vertical lines are among the first purely abstract art, and the most instantly recognizable. His paintings, writings, even the arrangement of his studio have been enormously influential on subsequent artists. We will examine his early Impressionist influenced landscapes, through his Cubist phase, on to his mature Compositions, to his last sublime pieces created during his last years in New York City.<br />
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Duchamp’s Readymades changed forever the definition of the art object, even as his iconoclasm challenged the prevailing conception of the role of the artist in contemporary society. Viewed will be his early paintings such as Nude Descending a Staircase, Readymades Fountain and Bicycle Wheel, the enigmatic Large Glass, through to his last and secret work The Illuminating Gas.<br />
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MODERN SCULPTURE IN THE CITY<br />
October 22 - November 12, 2009<br />
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In this four part course, we will investigate the history of modern sculpture, beginning with the works of Auguste Rodin, in two on campus classroom meetings. Two other meetings will be devoted to field trips to the Nasher Sculpture Center to view and discuss the permanent collection, and to the Meadows Museum on the SMU campus to visit the reinstallation of the museum's collection of modern and contemporary sculpture, including the recent acquisition of Sho, a monumental outdoor work by Spanish artist Jaume Plensa.<br />
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<span style="font-family: "arial";"><span style="font-family: "palatino linotype";">June 5 - June 19, 2008</span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "palatino linotype"; font-size: x-small;"><span style="font-family: "palatino linotype"; font-size: 11pt;">The course will begin with Auguste Rodin, widely considered to be the first modern sculptor, and trace the development of sculpture since his work and career. Discussion will center on how modern sculpture changed focus from an academic discipline to one that emphasized the individual aspirations of the artists themselves. We will utilize high quality digital images in the classroom, and discuss actual works by the artists in the permanent collection of the Nasher. Admission included. </span></span><span style="font-family: "tahoma"; font-size: x-small;"><span style="font-family: "tahoma"; font-size: 10pt;"></span></span></span></div>
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<span style="font-family: "arial";"><span style="font-family: "palatino linotype"; font-size: x-small;"><span style="font-family: "palatino linotype"; font-size: 11pt;">3 Th, 6:30-8:30 p.m. (6/12-6/26) Two class meetings held on the SMU campus; the third offers a private tour of the Nasher Sculpture Center in the Dallas arts district. </span></span><span style="font-family: "tahoma"; font-size: x-small;"><span style="font-family: "tahoma"; font-size: 10pt;"></span></span></span></div>
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GERALD MURPHY: MODERNISM, AMERICAN STYLE<br />
July 10 - July 17, 2008<br />
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<span style="font-family: "arial";"><span style="font-family: "palatino linotype"; font-size: x-small;"><span style="font-family: "palatino linotype"; font-size: 11pt;">Held in the galleries of the Dallas Museum of Art, this course examines the life and work of Gerald Murphy, an expatriate American whose bold, colorful paintings of American subject matter were made under the influence of Cubists such as Picasso and Braque. Visit the special exhibition <i><span style="font-style: italic;">Making It New: The Art and Style of Sara and Gerald Murphy</span></i>, which includes all known surviving works by Murphy as well as works by Murphy's contemporaries Picasso, Braque, Gris, and Leger. In 1960, The Dallas Museum of Contemporary Arts included Murphy's work in a group exhibition of overlooked early American modernists, and is thus directly responsible for the revival of his recognition as an important contributor to the development of modern art in America. His work is now regarded as anticipating American Pop Art. Admission included. </span></span></span><br />
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<span style="font-family: "arial";"><span style="font-family: "palatino linotype";">MODERN ART AND THE SOCIETE ANONYME</span></span><br />
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<span style="font-family: "arial";"><span style="font-family: "palatino linotype";">June 21 - July 12, 2007 (skip July 5)</span></span><br />
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<span style="font-family: "arial";"><span style="font-family: "palatino linotype";">Explore the collection of the Societe Anonyme, the first museum devoted exclusively to modern art in America. Founded in 1920 by Katherine Dreier (nine years before the Museum of Modern Art in New York), the Societe was devoted to the promotion and exhibition of the most radical and modern works available. With the able assistance of artist Marcel Duchamp, the Societe showed works by some of the artists now recognized as among the most important in the modern era, including Jean Arp, Max Ernst, Wassily Kandinsky, Piet Mondrian, Kurt Schwitters, and Duchamp himself. The collection is comprised of works by more than one hundred artists, and now belongs to the Yale University Art Galleries. We will visit the European galleries at the DMA one visit, the modern American galleries the second visit, and the special exhibition itself on the third and final visit. </span></span><br />
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<span style="font-family: "arial";"><span style="font-family: "palatino linotype";">FIFTY MODERN ART MASTERPIECES EVERYONE SHOULD KNOW</span></span><br />
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<span style="font-family: "arial";"><span style="font-family: "palatino linotype";">April 4 - May 2, 2005</span></span><br />
<span style="font-family: "arial";"><span style="font-family: "palatino linotype";">April 18 - May 16, 2006</span></span><br />
<span style="font-family: "arial";"><span style="font-family: "palatino linotype";">September 28 - October 26, 2006</span></span><br />
<span style="font-family: "arial";"><span style="font-family: "palatino linotype";">February 8 - March 8, 2007</span></span><br />
<span style="font-family: "arial";"><span style="font-family: "palatino linotype";">September 20 - October 18, 2007</span></span><br />
<span style="font-family: "arial";"><span style="font-family: "palatino linotype";">March 27 - May 1, 2008</span></span><br />
<span style="font-family: "arial";"><span style="font-family: "palatino linotype";">September 11 - October 16, 2008</span></span><br />
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<span style="font-family: "arial";"><span style="font-family: "palatino linotype";">Explore fifty of the most important and best known works in the history of modern art. Through richly illustrated classroom discussions, examine the work of modernist icons such as Manet, Monet, Picasso, Matisse, Pollock and Warhol, and such major movements as Impressionism, Cubism, Surrealism, Abstract Expressionism, Pop and Minimalism.</span></span><br />
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<span style="font-family: "arial";"><span style="font-family: "palatino linotype";">UNDERSTANDING MODERN ART Section A</span></span><br />
<span style="font-family: "arial";"><span style="font-family: "palatino linotype";">February 10 - March 3, 2005</span></span><br />
<span style="font-family: "arial";"><span style="font-family: "palatino linotype";">September 8 - September 29, 2005</span></span><br />
<span style="font-family: "arial";"><span style="font-family: "palatino linotype";">February 2 - February 23, 2006</span></span><br />
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<span style="font-family: "arial";"><span style="font-family: "palatino linotype";">Experience modern works by acknowledged masters directly in the galleries of the Dallas Museum of Art. This course will cover works by the early moderns, such as Degas and Courbet, and continue through roughly 1945. Works by European and American artists will be emphasized.</span></span><br />
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<span style="font-family: "arial";"><span style="font-family: "palatino linotype";">UNDERSTANDING MODERN ART Section B</span></span><br />
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<span style="font-family: "arial";"><span style="font-family: "palatino linotype";">March 10 - March 31, 2005</span></span><br />
<span style="font-family: "arial";"><span style="font-family: "palatino linotype";">October 13 - November 3, 2005</span></span><br />
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<span style="font-family: "arial";"><span style="font-family: "palatino linotype";">Continue your experience of discussing modern works of art in the contemporary section of this course, world art made since 1945. Held in the contemporary galleries and sculpture garden at the Dallas Museum of Art, this course will allow students to directly experience the works to be discussed, seeing them in context with other contemporary art.</span></span><br />
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<span style="font-family: "arial";"><span style="font-family: "palatino linotype";">NASHER SCULPTURE CENTER TOUR</span></span><br />
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<span style="font-family: "arial";"><span style="font-family: "palatino linotype";"><span style="font-family: "palatino linotype";">May 12, 2005</span><br />
<span style="font-family: "palatino linotype";">April 30, 2005</span><br />
October 6, 2005<br />
October 8, 2005<br />
April 1, 2006<br />
November 4, 2006<br />
March 31, 2007<br />
October 20, 2007</span></span><br />
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<span style="font-family: "palatino linotype";">Displayed in a magnificent light filled building designed by Renzo Piano, the Nasher is one of the largest and finest private collections of modern and contemporary sculpture in the world. Discover works by such integral artists from the late nineteenth and early twentieth centuries as Rodin, Picasso, and Matisse, as well as contemporary artists such as Richard Serra and David Smith.</span><br />
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Lane Bankshttp://www.blogger.com/profile/16269462901384135461noreply@blogger.com0tag:blogger.com,1999:blog-5230549421167806702.post-42041331941414478832011-01-05T13:42:00.001-08:002021-08-03T18:05:07.190-07:00SMU course descriptions<div class="MsoNormal" style="margin: 0in 0in 10pt;"><div class="MsoNormal" style="margin: 0in 0in 10pt;"><div class="MsoNormal" style="margin: 0in 0in 10pt; tab-stops: 49.5pt;"><p class="MsoNormal"><b><span style="font-size: 16.0pt; line-height: 115%;">Edward Hopper’s America: Realism in
the 20<sup>th</sup> Century<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 115%;">Edward
Hopper’s images of gas stations, diners, office workers and city dwellers are
among the most iconic in American art.
Grounded in the French Impressionism that he absorbed during three trips
to Europe in his youth, Hopper translated the vision of the European modernists
to the vernacular architecture and mundane routines of 20<sup>th</sup> century
American life.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 115%;">Combining
classroom lecture with images of art works, this course will consider Hopper’s
student work made during his formative years with Robert Henri, leader of the
group known as the Ash Can School for their gritty and unglamorous depictions
of New York street life, continuing with his absorption of modern European art
while living in Paris in the early part of the century. Meeting and marrying Jo Nivison, a fellow
Henri student, proved pivotal; she became chronicler of his career and his only
female model and, later gifted many works to the Whitney Museum of American Art
in New York. Hopper’s mature oil
paintings, such as <i>House by the Railroad,
Nighthawks</i>, and <i>Early Sunday Morning</i>,
are monuments of modern American art, and are all inspired by places Hopper
knew, either near his studio or from his travels. Often conveying a sense of loneliness or
isolation, these unsentimental works of frequently banal subjects individualize
the universal malaise experienced by millions of Americans during the rapid
changes of 20<sup>th</sup> century life; Hopper himself stated that his “aim in
painting has always been the most exact transcription possible of my most
intimate impressions of nature.”
Hopper’s paintings will also be compared and contrasted with those of
his American and European contemporaries.
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<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 115%;">Five
meetings, 90 minutes each.<o:p></o:p></span></p>
<p class="MsoNormal"><o:p> </o:p><a href="https://go.smu.edu/course?courseCode=CSC031&_gl=1*oshf1a*_ga*MTkyMzg5NTEzMS4xNjIxOTE0Nzc1*_ga_8J97ZW8FFS*MTYyODAzNjk1Mi4xMC4xLjE2MjgwMzcyMDQuNDQ.&_ga=2.40278562.1038515691.1628037168-1923895131.1621914775">CSC031 Edward Hopper’s America | SMU Continuing and Professional Education</a></p>
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Lane Bankshttp://www.blogger.com/profile/16269462901384135461noreply@blogger.com0tag:blogger.com,1999:blog-5230549421167806702.post-45225073893088315252011-01-05T13:26:00.000-08:002014-08-19T17:21:15.355-07:00black, white and silver paintings<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCB8qCoStHR6YJncdteVm97VsErHwg_J_xqUUHCenKj8-KqpIBqgozP6Z6Myvr6Cksjmty_mijy2Q_p_DwF5xg7U9Wn1Vpj9UbHqSlxmTU8Jjvw4Blb38S8NNNvtwIEgC9zKsb2ZCgkos/s1600/Untitled2000.5%252C+acrylic+on+three+joined+canvases%252C+15.5+x+53.5+x+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCB8qCoStHR6YJncdteVm97VsErHwg_J_xqUUHCenKj8-KqpIBqgozP6Z6Myvr6Cksjmty_mijy2Q_p_DwF5xg7U9Wn1Vpj9UbHqSlxmTU8Jjvw4Blb38S8NNNvtwIEgC9zKsb2ZCgkos/s640/Untitled2000.5%252C+acrylic+on+three+joined+canvases%252C+15.5+x+53.5+x+2.jpg" height="226" s5="true" width="640" /></a></div>
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Untitled2000.5, acrylic on three joined canvases, 15.5 x 53.5 x 2</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMy-GtQXm4Vvk3YQsholP7ITlW3Q4mv9wVsaW3f_y9WSFXW2yzMdU7Miq9H0juNN2_GYp9iYX9AWPMrj8GpXAkgMM2thHrsx3UNLNm2xgukJ7yWlQ4UHZKkqhbddR9P905zxdqOuZ_r70/s1600/Untitled2000.6%252C+acrylic+on+two+joined+canvases+and+three+wood+panels%252C+64.5+x+42+x+8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMy-GtQXm4Vvk3YQsholP7ITlW3Q4mv9wVsaW3f_y9WSFXW2yzMdU7Miq9H0juNN2_GYp9iYX9AWPMrj8GpXAkgMM2thHrsx3UNLNm2xgukJ7yWlQ4UHZKkqhbddR9P905zxdqOuZ_r70/s640/Untitled2000.6%252C+acrylic+on+two+joined+canvases+and+three+wood+panels%252C+64.5+x+42+x+8.jpg" height="398" j6="true" width="640" /></a></div>
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Untitled2000.6, acrylic on two joined canvases and three wood panels, 64.5 x 42 x 8</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguR-ecKbzSlYOXqPaC9MMwiVNVvv9SnvGbTcrfu-AEVBwvgF7z7M8NilLgJj1BX4VLuFPPyB5_QsJbjRwPmInmmNEs3tXc8GoG0yB8W9az5to90U4AKe-NdCSyN_gMBAaEKMlqy_WHDBw/s1600/Untitled2000.6%252C+oblique+view.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguR-ecKbzSlYOXqPaC9MMwiVNVvv9SnvGbTcrfu-AEVBwvgF7z7M8NilLgJj1BX4VLuFPPyB5_QsJbjRwPmInmmNEs3tXc8GoG0yB8W9az5to90U4AKe-NdCSyN_gMBAaEKMlqy_WHDBw/s640/Untitled2000.6%252C+oblique+view.jpg" height="494" j6="true" width="640" /></a></div>
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Untitled2000.6, oblique view</div>
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Untitled2000.8, acrylic on two joined canvases with acrylic on wood, 16.75 x 32.75x 3.5</div>
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Untitled2001.1, acrylic on canvas with acrylic on two wooden attachments, 18.5 x 24.5 x 5.75</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5y1fd5mjbktVsG3JGoy-hU6Pi62LPC91xey9PaHj5vpwn8uLWBkKeGEq677HjBnqPq8s6Ain0R1vkGHq4WICk2I3j90GXPfS4a0QS2kJXCAFa9e2rfgmiWxfGMxlFPGl59utWHmJhGc8/s1600/Untitled2001.2%252C+acrylic+on+canvas%252C+48.5x48.5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5y1fd5mjbktVsG3JGoy-hU6Pi62LPC91xey9PaHj5vpwn8uLWBkKeGEq677HjBnqPq8s6Ain0R1vkGHq4WICk2I3j90GXPfS4a0QS2kJXCAFa9e2rfgmiWxfGMxlFPGl59utWHmJhGc8/s640/Untitled2001.2%252C+acrylic+on+canvas%252C+48.5x48.5.jpg" height="640" s5="true" width="630" /></a></div>
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Untitled2001.2, acrylic on canvas, 48.5 x 48.5</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPwwlv4AUE7BvipAY8D2CSvOQZp64FfBWKI_9s2LNm4V9_YMNJDopdj2GDdv2cYopJdE17rrNcCVgYq2LcUPpIOjWZLHDRdpJ4B_S7sFVyC7YlnR_IKxb6aCtlAQFSbGWWyOwD8BqgptE/s1600/Untitled2001.8%252C+acrylic+on+canvas%252C+31.5x26.5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPwwlv4AUE7BvipAY8D2CSvOQZp64FfBWKI_9s2LNm4V9_YMNJDopdj2GDdv2cYopJdE17rrNcCVgYq2LcUPpIOjWZLHDRdpJ4B_S7sFVyC7YlnR_IKxb6aCtlAQFSbGWWyOwD8BqgptE/s640/Untitled2001.8%252C+acrylic+on+canvas%252C+31.5x26.5.jpg" height="640" s5="true" width="548" /></a></div>
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Untitled2001.8, acrylic on canvas, 31.5 x 26.5</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvSEn3xY2cH5I5Jrg8wB4dh2fxmGcjPtHT8OWMoxUB3RZlBU8nNFUQymdjZ5bH-whDFhqpE8-QY8y6MIlFjtiYFQdrDDA3o-u1TzXszdZ6Xp2UJ1i2qKm9GWRLSMW6iWYD2Cx9nDtyhmU/s1600/Untitled2002.1%252C+acrylic+on+canvas%252C+30+x+17.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvSEn3xY2cH5I5Jrg8wB4dh2fxmGcjPtHT8OWMoxUB3RZlBU8nNFUQymdjZ5bH-whDFhqpE8-QY8y6MIlFjtiYFQdrDDA3o-u1TzXszdZ6Xp2UJ1i2qKm9GWRLSMW6iWYD2Cx9nDtyhmU/s640/Untitled2002.1%252C+acrylic+on+canvas%252C+30+x+17.jpg" height="640" n4="true" width="348" /></a></div>
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Untitled2002.1, acrylic on canvas, 30 x 17</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjygCTiEgtexqKnu-7NgUeFfgk_JUIrMtc2LbaYKWtADLPyPVpVbBwie_j8qctyBu_GgsxJ1isAq-LJE-25hp5eHr5tuu75kQSkG3B9ZZlTc1L2Xk9UNXXpnN0idSDE1E0T0OgTfpYS-wY/s1600/Untitled2002.9%252C+acrylic+on+canvas%252C+33x17.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjygCTiEgtexqKnu-7NgUeFfgk_JUIrMtc2LbaYKWtADLPyPVpVbBwie_j8qctyBu_GgsxJ1isAq-LJE-25hp5eHr5tuu75kQSkG3B9ZZlTc1L2Xk9UNXXpnN0idSDE1E0T0OgTfpYS-wY/s640/Untitled2002.9%252C+acrylic+on+canvas%252C+33x17.jpg" height="640" n4="true" width="360" /></a></div>
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Untitled2002.9, acrylic on canvas, 33 x 17</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9q1wqhFoxEXxTkkozzrS4WBvHLbm3_g3M85EiwKIuM_zAgsXMKFKr-T6Kl-njj4JGSqL5KlMiQKZiSiZnvM3aiiNHX9gMl0rlWENw1vQYMTtlDnBXN1N6dtc2zKnaVWLanpecaJGYT7c/s1600/Untitled2002.12%252C+acrylic+on+canvas%252C+51+x+17.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9q1wqhFoxEXxTkkozzrS4WBvHLbm3_g3M85EiwKIuM_zAgsXMKFKr-T6Kl-njj4JGSqL5KlMiQKZiSiZnvM3aiiNHX9gMl0rlWENw1vQYMTtlDnBXN1N6dtc2zKnaVWLanpecaJGYT7c/s640/Untitled2002.12%252C+acrylic+on+canvas%252C+51+x+17.jpg" height="640" n4="true" width="235" /></a></div>
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Untitled2002.12, acrylic on canvas, 51 x 17</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv_ZEETvSHBUDvA-lMRcNPdEACeQwNQE0FhyphenhyphenpHk3muw-gkRN2nQlxwTithY3nSKvTuGzFTqLfobJ_5PluhXJqMt3RVD1-le3UUrobqHegeL4PaAHu8wi3NpnltUocnZn1F8CRXP9nitRE/s1600/Untitled2002.13%252C+acrylic+on+canvas%252C+33x17.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv_ZEETvSHBUDvA-lMRcNPdEACeQwNQE0FhyphenhyphenpHk3muw-gkRN2nQlxwTithY3nSKvTuGzFTqLfobJ_5PluhXJqMt3RVD1-le3UUrobqHegeL4PaAHu8wi3NpnltUocnZn1F8CRXP9nitRE/s640/Untitled2002.13%252C+acrylic+on+canvas%252C+33x17.jpg" height="640" n4="true" width="372" /></a></div>
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Untitled2002.13, acrylic on canvas, 33 x 17</div>
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Untitled2002.14, acrylic on canvas, 17 x 9</div>
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Untitled2002.19, acrylic on canvas, 33.25 x 16.75</div>
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Untitled2002.20, acrylic on canvas, 48.75 x 48.75</div>
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Untitled2002.21, acrylic on canvas, 39 x 17</div>
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Untitled2002.22, acrylic on canvas, 33 x 17</div>
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Untitled2003.8, acrylic on canvas, 47 x 24</div>
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Untitled2003.13, acrylic on canvas, 21.5 x 21</div>
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Untitled2003.14, acrylic on canvas, 61 x 17</div>
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Untitled 2003.15, acrylic on canvas, 19 x 19</div>
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Untitled2003.16, acrylic on canvas, 20 x 20</div>
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Untitled2003.17, acrylic on canvas, 16 x 30.5</div>
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Untitled2003.18 acrylic on canvas, 18.5 x 18.5</div>
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Untitled2003.19, acrylic on canvas, 24.5 x 24</div>
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Untitled2003.20, acrylic on canvas, 27 x 26.5</div>
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Untitled2004.4, acrylic on canvas, 27 x 23</div>
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Untitled2004.7, acrylic on canvas, 25 x 48</div>
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Untitled2004.8, acrylic on canvas, 48.5 x 20.5</div>
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Untitled2005.2, acrylic on canvas, 24 x 24</div>
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Untitled2005.3, acrylic on canvas, 22 x 22</div>
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Untitled2005.4, acrylic on canvas, 24x24</div>
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Untitled2006.2, acrylic on canvas, 43 x 45.5</div>
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Untitled2007.6, acrylic on canvas, 40 x 40</div>
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Untitled2007.7, acrylic on canvas, 40 x 40</div>
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Untitled2007.8, acrylic on canvas, 40 x 40</div>
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Untitled2007.9, acrylic on canvas, 40 x 40</div>
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Untitled2007.12, acrylic on three joined panels, 30 x 24</div>
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Untitled2007.28, acrylic on four joined canvases, 42 x 46.5</div>
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Untitled2008.1, acrylic on two joined canvases, 52 x 32</div>
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Untitled2008.2, acrylic on two joined canvases, 52 x 32</div>
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Untitled2008.6, acrylic on canvas, 30 x 30</div>
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Untitled2009.19, acrylic on canvas, 57 x 17</div>
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Lane Bankshttp://www.blogger.com/profile/16269462901384135461noreply@blogger.com0