Public Art at the Glasscock School of Continuing Studies

The Glasscock School is proud to be the home of several public art works on the Rice University campus.

 

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<p><h2 style="margin:0px">  <em>Black Ladder</em></h2> <h3 style="margin:0px">  Stephen Dean</h3> <div style="margin-top: 10px; margin-bottom: 10px;">  <em>2014</em><br />  <em>Aluminum and dichroic glass</em><br />  <em>Anderson-Clarke Center, Susanne M. Glasscock School of Continuing Studies Grand Staircase</em><br />  <em>Made possible by the generosity of H. Russell Pitman ’58</em></div> <p>Black Ladder employs varied panels of dichroic glass framed within the form of a ladder to fill the entire width and height of the stairwell window, set into the façade of the building. Natural light will filter through the glass during the day, projecting an array of color onto the floors and wall. After dark, the sculpture is lit so as to be visible to those within the building and passersby outside. The ladder, a symbol of upward movement and possibilities, reflects both its physical location in a stairwell and the mission of the Glasscock School, to serve as a conduit for personal and professional development growth.</p> <p><strong>About the artist:</strong> Born in Paris, France, Stephen Dean works in multiple media, including film, sculpture and drawing. Working across these media, Dean often uses color as a mechanism to alter spatial relationships. He is also interested in using the vocabulary of ritualized gatherings and everyday performance to reconstitute our systems of understanding space and time. Dean’s work has been exhibited at the San Francisco Museum of Modern Art, Miami Art Museum and the Site Santa Fe Biennial. His work is in many private and public collections, including the Whitney Museum of American Art, the National Gallery of Art, the Guggenheim Museum and the Progressive Corporation.</p> </p>
<p><h2 style="margin:0px">  <em>Peter T. Brown Gallery</em></h2> <div style="margin-top: 10px; margin-bottom: 10px;">  <em>2014</em><br />  <em>Anderson-Clarke Center, Susanne M. Glasscock School of Continuing Studies </em><br />  <em>Made possible by the generosity of the students of Peter Brown </em></div> <p>The Peter T. Brown Gallery, housed in the Anderson-Clarke Center, was funded by more than $100,000 in donations from students.</p> <p>Peter Brown has an extended relationship with the Susanne M. Glasscock School of Continuing Studies that expands beyond the school to the entire Houston community. Mary McIntire, dean of Continuing Studies, traces his history with the city: “Peter has been not only a superb teacher but also a mentor to more than a thousand adults with a passion for photography. Many of these people have gone on to become professional photographers, active as board members in the nonprofit arts scene and frequent contributors to photography exhibitions. It speaks so well of Peter that his current and past students – and these are non-credit courses – would contribute so generously, all the while keeping from Peter their plan to name the gallery in his honor. Peter has helped to create the vibrant arts scene in the city, and we are all grateful for his many contributions.” In 2008, in honor of his prolonged association with the school, Peter received the first Glasscock School Teaching Award in recognition of his 30 years as a community instructor for Continuing Studies.</p> <p>Thank you for the efforts and generosity of all who donated money and time to fund and coordinate the space including Julie Alexander, Lloyd Bentsen, John D. Chaney, Kelly Dempster, Patricia Eifel and Jim Belli, Tom Flaherty, Sandy Lloyd, Mary McIntire and Jim Pomerantz, Bill Walterman and the students of Peter T. Brown.</p> <p>The gallery is located between the Dean’s Commons and Hudspeth Auditorium in the Anderson-Clarke Center and will be host to many future exhibitions.</p> </p>
<p><h2 style="margin:0px">  <em>In Play</em></h2> <h3 style="margin:0px">  Joseph Havel</h3> <div style="margin-top: 10px; margin-bottom: 10px;">  <em>2014</em><br /> <em>Patinaed bronze</em><br />  <em>Anderson-Clarke Center, Susanne M. Glasscock School of Continuing Studies Great Lawn </em><br />  <em>Made possible by the generosity of Leslie ’69 and Brad Bucher ’65 </em></div> <p>Each sculpture was cast of bronze using a fabric form, confounding the material nature of the sculpture. At first glance, the orbs appear heavy and dense as traditional bronze sculptures. In fact, their hollow and intricate construction challenges the viewer’s expectations, where upon closer inspection detailed traces of the original cloth and lace forms are apparent on the surface. The surface patinas were applied with both hot and cold coats of patina. The darker orbs were buffed to reveal flashes of their metallic base surfaces while the white orbs remained untouched. They were then coated with two layers of a sealer, a matting agent, and, finally waxed to protect their surfaces.</p> <p>The sculptures are in dialogue in two groupings; one on the southwest corner and the other on the northeast corner of the lawn. The sculptures convey a lightness in their positioning; they appear to hover over the grass, as if they could be easily nudged or rolled. In Play invites intimate inspection, contemplation and a rethinking of the ideas sculpture can communicate.</p> <p><strong>About the artist:</strong> Born in Minnesota, Joseph Havel is a sculptor who has worked in bronze, resin and fiber. Havel’s work weaves together personal narrative and larger historical forces. The juxtaposition of divergent materials (here, bronze and cloth) and a trompe l’oeil sensibility are common themes found in Havel’s work, which also comments on Minimalism and the construction of identity. His work has been exhibited widely in the United States and Europe, and is in the collections of many museums, including the Pompidou Center, the Whitney Museum of American Art and the Modern Art Museum of Fort Worth. In 1987 he was awarded a National Endowment for the Arts Artist Fellowship and in 1995 he received a Louis Comfort Tiffany Artist’s Fellowship. Havel lives and works in Houston, and is Director of the Glassell School of Art. Havel holds a B.F.A. from the University of Minnesota and a M.F.A. from Pennsylvania State University.</p> </p>
<p><h2 style="margin:0px">  <em>Wall Drawing #1115, Circle within a square, each with broken bands of color</em></h2> <h3 style="margin:0px">  Sol Lewitt</h3> <div style="margin-top: 10px; margin-bottom: 10px;">  <em>2019, installation in progress</em><br /> <em>Acrylic paint</em><br />  <em>Anderson-Clarke Center, Susanne M. Glasscock School of Continuing Studies Dean's Commons </em><br />  <em>Made possible by the generosity of H. Russell Pitman ‘58 </em></div> <p>Like a musical score or architectural blueprints, LeWitt’s wall drawings are detailed instructions for artworks conceived by the artist and executed by others whom he or his studio trained. Since 1968, more than 1,270 LeWitt wall drawings have been installed worldwide. They include an enormously diverse range of styles, media, colors and shapes, and have been described as “plainly beautiful, gorgeously rendered, and exquisite in visual effect."7 These works are drawn or painted “directly on the wall with no intervention”8 so that “the art is intimately involved with the architecture. It is available to be seen by everyone.”9</p> <p>LeWitt’s wall drawings are an ideal fit for a school and university dedicated to community learning and engagement, as they celebrate ideas and are “imbued with the spirit of collaboration and generosity.”10</p> <p>If you could represent the Glasscock School’s vibrant community in an abstract work of art, what would it look like? We like to imagine it would look something like Sol LeWitt’s “Wall Drawing #1115,” which graces the cover of this fall’s catalog. The hundreds of painted “bands” that comprise this artwork vary in shape, size and color. Together, they form interwoven circles, radiating powerful energy and a sense of joy. This work will be installed in late fall on a two-story wall in the Anderson-Clarke Center’s Dean’s Commons, the central convening space of our school.</p> <p><strong>About the artist:</strong> Solomon “Sol” LeWitt (1928–2007) was an American artist renowned for his role as a founder of Minimalism and Conceptual art, a pioneer in elevating ideas as an art form. LeWitt’s abundant body of work includes more than 1,270 “wall drawings” and numerous “structures” (as he called his sculptures), as well as many drawings, paintings and other forms of art. His work explored “seriality” of ideas and forms, an approach LeWitt compared to musical variations and photography. LeWitt’s artwork is grounded in ideas and is visually powerful and engaging.</p> </p> <p>First drawn by: Takeshi Arita, Patrick Gavin, Glenn LaVertu, Laura Ostrander, Sara Saltzman. First installation: Museum of Art, Rhode Island School of Design, Providence. February 2004. © 2019 The LeWitt Estate / Artists Rights Society (ARS), New York. Courtesy Paula Cooper Gallery, New York. Photo: Erik Gould.</p>