Through The Lens of Sculpture


Bernardi Roig’s The Man of the Light (2005), as seen through Morris Graves’s Weather Prediction Instruments for Meteorologists (1962 / completed 1999)

Director of the Center and Curator-at-Large Klaus Ottmann recently replaced the galleries previously occupied by A Tribute to Anita Reiner with a new installation highlighting works from the permanent collection, including a handful of sculptures. The works interact with Bernardi Roig‘s installation in the stairwell, as well as the surrounding paintings, in an interesting way. Here’s a peek inside the galleries.

morris graves

Morris Graves, Surf and Bird, ca. 1940. Gouache on paper, 26 3/8 x 29 3/4 in. The Phillips Collection, Washington, DC, Acquired 1942


David Smith’s Bouquet of Concaves (1950) with Richard Diebenkorn’s Girl with Plant (1960) and Boy by Bernard Karfiol (n.d.)


Artists Know How to Keep Things in Perspective

Paolo Uccello (1396-1475). Perspective Study of a Chalice, pen and ink on paper

Paolo Uccello (1396-1475). Perspective Study of a Chalice, pen and ink on paper, 29 x 24.5 cm, Gabinetto dei Disegni, Uffizi, Florence, Italy.

“[Paolo Uccello] would remain the long night in his study to work out the vanishing points of his perspective, and when summoned to his bed by his wife replied in the celebrated words: ‘How fair a thing is this perspective.’ Being endowed be nature with a sophisticated and subtle disposition, he took pleasure in nothing save in investigating difficult and impossible questions of perspective . . . When engaged in these matters, Paolo would remain alone in his house almost like a hermit, with hardly any intercourse, for weeks and months, not allowing himself to be seen . . . By using up his time on these fancies he remained more poor than famous during his lifetime.”

Giorgio Vasari, Lives of the Artists



Alyson Shotz, Ecliptic, 2012.

Alyson Shotz, Ecliptic, 2012. Photo: Lee Stalsworth.

Alyson Shotz’s work Eclipticon view through May 27 as part of the Intersections contemporary art series, makes me think of a 560-year-old Italian Renaissance perspectival drawing. Except Uccello never worked in yarn. The modern is always rooted in the past. Be sure to see this installation–you may leave saying to yourself, “How fair a thing is this perspective.” May she become more famous than poor.

Ianthe Gergel, Museum Assistant