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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>Sol Lewitt</em></h2><br />
<p><strong>Wall Drawing #1115: Circle Within a Square, Each with Broken Bands of Color <br /> </strong><em>Acrylic paint, 14’ x 14’<br /> </em><em>Anderson-Clarke Center, Susanne M. Glasscock School of Continuing Studies<br /> </em><em>Made possible by the generosity of H. Russell Pitman ‘58</em></p><p><strong>Wall Drawing #869A: Copied Lines <br /> </strong><em>Marker and black pencil, 8’ x 8’</em><br /> <em>Anderson-Clarke Center, Susanne M. Glasscock School of Continuing Studies</em></p><p>In fall 2019, the Glasscock School of Continuing Studies and <a  href=""> Rice Public Art</a> celebrated the <a  href="">acquisition</a>  of internationally-renowned conceptual artist Sol LeWitt’s “Wall Drawing #1115” and the exhibition of a loaned work, “Wall Drawing #869A” at the Anderson-Clarke Center. Like a musical score or architectural blueprints, LeWitt’s wall drawings are detailed instructions for artworks conceived by the artist to be executed by others.</p><p>A team of professional draftspeople installed Wall Drawing #1115 over four weeks. Wall Drawing #1115 is the first work of conceptual art in the Rice Public Art collection. Wall Drawing #869A, a “copied lines” drawing installed at the Glasscock School by 36 campus and community members, is on loan from Paula Cooper Gallery through fall 2022. Wall Drawing #869A has never before been installed anywhere in the world.</p><p><strong>About the artist</strong>: Sol LeWitt (1928–2007) was an American artist whose work and ideas played a pivotal role in establishing 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 as well as many other forms of art. LeWitt’s wall drawing, “<a  href="">Glossy and Flat Black Squares</a>” was Rice Gallery’s first site-specific work in 2007 and was re-installed as the gallery’s final exhibition in 2017. As Kimberly Davenport, founding director of Rice Gallery, said: “Sol figured out how to make art eternal. That was his genius.”</p><p>Visit the <a  href="">Sol LeWitt Project website</a> to learn more.</p><br />
<p><em>Captions</em></p><br />
<p style="font-size: 80%;  line-height: 1.2;">Wall Drawing #1115: First drawn by: Takeshi Arita, Patrick Gavin, Glenn LaVertu, Laura Ostrander, Sara Saltzman. First Installation: Rhode Island School of Design Museum of Art, Providence, RI, February 2004. SL-439-WD. Installation at Rice University drawn by: Gabriel Hurier, David Krueger, Cat McCaully, Jacob Villalobos, November 2019. Photo credit: Bret Newcomb</p><p style="font-size: 80%;  line-height: 1.2;">Wall Drawing #869A: First drawn by: Milagros Lugo Amador, Josh Bernstein, Natasha Bowdoin, Elin Britton, Korin Brody, Barb Brooks, Robert Bruce, Kiae Choi, Kathleen Huggins Clarke, Robert L. Clarke, Lola Deng, Anna Fritz, Mel Glasscock, Susanne Glasscock, John Hogan, Gabriel Hurier, Stanley Kaminski, David Krueger, Ann Scully Malcolm, Cathy Maris, Cat McCaully, Mary McIntire, Deborah Melanson, Ellen Orseck, Sophie Parker, Braden Perryman, Andy Rodriguez, Izzy Samperio, Anne Santos, John Sparagana, Laura Spector, Anne Swanson, Courtney Tardy, Jacob Villalobos, Jenny Wang, Alison Weaver, Ken Yanowski. First Installation: Rice University, Glasscock School of Continuing Studies, November, 2019 SL-458-WD. The LeWitt Estate and Paula Cooper Gallery, New York. Loan courtesy of Paula Cooper Gallery, New York. Photo credit: Cathy Maris</p>