[{"id":453,"date":"2023-04-13T14:36:33","date_gmt":"2023-04-13T14:36:33","guid":{"rendered":"https:\/\/edspace.american.edu\/still-moving\/?page_id=453"},"modified":"2023-04-13T15:35:08","modified_gmt":"2023-04-13T15:35:08","slug":"jackson","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/still-moving\/jackson\/","title":{"rendered":"Jackson"},"content":{"rendered":"\t\t
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Richard Jackson, Untitled [plans for three-dimensional work], 1970, pencil and oil paint on off-white tracing paper framed: 41 3\/8 \u00d7 53 3\/8 \u00d7 1 3\/4 inches. American University Museum at the Katzen Arts Center, Gift from the Trustees of the Corcoran Gallery of Art (Museum Purchase).<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tPotential<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

\/*! elementor – v3.12.1 – 02-04-2023 *\/ .elementor-widget-image{text-align:center}.elementor-widget-image a{display:inline-block}.elementor-widget-image a img[src$=”.svg”]{width:48px}.elementor-widget-image img{vertical-align:middle;display:inline-block} Richard Jackson, Untitled [plans for three-dimensional work], 1970, pencil and oil paint on off-white tracing paper framed: 41 3\/8 \u00d7 53 3\/8 \u00d7 1 3\/4 inches. American University Museum at the Katzen Arts Center, Gift from the Trustees of the Corcoran Gallery of […]<\/p>\n","protected":false},"author":4038,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-453","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages\/453","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/users\/4038"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/comments?post=453"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages\/453\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/media?parent=453"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":383,"date":"2023-04-11T18:33:25","date_gmt":"2023-04-11T18:33:25","guid":{"rendered":"https:\/\/edspace.american.edu\/still-moving\/?page_id=383"},"modified":"2023-07-19T16:24:23","modified_gmt":"2023-07-19T16:24:23","slug":"fuller","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/still-moving\/fuller\/","title":{"rendered":"Fuller"},"content":{"rendered":"\t\t

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Sue Fuller, String Composition #144, 1967. Nylon threads under Plexiglas, 32 1\/2 x 32 1\/2 in. American University Museum at the Katzen Arts Center. from the Trustees of the Corcoran Gallery of Art (Gift of Mr. Emerson Crocker).<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Through the presentation of enclosed tactile threaded textures, String Composition #144 <\/em>illustrates an intricate network of strings that suspend above an orange background. Similar to this exhibition\u2019s underlying themes between motion and stillness, this work demonstrates how opposition evokes harmony. Indeed, despite being a fixed object, Fuller uses color to conjure a sense of dynamism and fluidity. Where multiple strings converge vibrant hues of color emanate. This is especially exemplified by the straight stiffened strings that radiate and cojoin to create an arching circular shape that frames the work.<\/p>\n

Beginning in the 1940s, experimentations in collaging textile materials directly on top of printing plates at the Atelier 17 printmaking studio led to Fullers\u2019 intricate string compositions, thus evoking a sense of true artistic discovery and creativity. Grounded in the principles of both sculpture and two-dimensional media, this work demonstrates how contrasting elements can complement each other.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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More on Composition #144<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tRead the full catalog essay by Virginia Apperson<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tRead Luca Marchetti's article, \"Depicting Motion in a Static Image: Philosophy, Psychology and the Perception of Pictures.\"<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tRead Christina Weyl's \"The Printed Collage.\"<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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“I chose Sue Fuller\u2019s string construction because I was fascinated by the complexity of the image. In so many ways, this work is directly at odds with itself\u2026 it is a flat image and a constructed three-dimensional work. It utilizes straightened strings, yet creates a curved arching shape. It\u2019s stationary, yet depicts a flowing circular motion. I found Fuller\u2019s ability to depict these contradictions quite engaging, and I was inspired by the evocation of harmony through opposition.”<\/p>

– \u00a0Virginia Apperson, co-curator, American University\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tPotential<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

\/*! elementor – v3.12.1 – 02-04-2023 *\/ .elementor-widget-image{text-align:center}.elementor-widget-image a{display:inline-block}.elementor-widget-image a img[src$=”.svg”]{width:48px}.elementor-widget-image img{vertical-align:middle;display:inline-block} Sue Fuller, String Composition #144, 1967. Nylon threads under Plexiglas, 32 1\/2 x 32 1\/2 in. American University Museum at the Katzen Arts Center. from the Trustees of the Corcoran Gallery of Art (Gift of Mr. Emerson Crocker). Through the presentation of enclosed […]<\/p>\n","protected":false},"author":4087,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-383","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages\/383","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/users\/4087"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/comments?post=383"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages\/383\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/media?parent=383"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":381,"date":"2023-04-11T18:18:35","date_gmt":"2023-04-11T18:18:35","guid":{"rendered":"https:\/\/edspace.american.edu\/still-moving\/?page_id=381"},"modified":"2023-07-19T16:24:55","modified_gmt":"2023-07-19T16:24:55","slug":"rickey","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/still-moving\/rickey\/","title":{"rendered":"Rickey"},"content":{"rendered":"\t\t

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\n\t\t\t\t\t\t\t\t\t\t\"Twenty-one\t\t\t\t\t\t\t\t\t\t\t
George Rickey, Peristyle III, 1966. Stainless steel, 40 x 102 1\/4 x 5 1\/4 in. American University Museum at the Katzen Arts Center. Gift from the Trustees of the Corcoran Gallery of Art (Gift of the Friends of the Corcoran).<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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George Rickey\u2019s Peristyle III<\/em> (1966) is in constant movement. Twenty-one stainless steel blades rest gingerly across six metal hinges, unsecured, allowing for a subtle, perpetual laceration of the air around the sculpture. Its sway is juxtaposed against the solid eight-and-a-half-foot walnut block that forms its base, grounding it in stillness. Rickey\u2019s sculptures are not intended to be abstractions or representations of life. Rather, through his commitment to line as an independent communicator of movement, each piece invites the viewer into its orbit of performance. Allow Peristyle III<\/em> to put on a show.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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More on Peristyle III<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tRead the full catalog essay by Karly Lainhart<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tRead Alex Taylor's essay, \"The Calder Problem: Mobiles, Modern Taste, and Mass Culture.\"<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tRead Reiko Tomii's dissertation entitled, \"Between Two Continents: George Rickey, Kinetic Art and Constructivism, 1949-1968.\"<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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“I selected Peristyle III<\/em> because it embodies George Rickey’s commitment to line as a simple, elegant communicator of movement.”<\/p>

– Karly Lainhart, co-curator, American University\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tPotential<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

\/*! elementor – v3.12.1 – 02-04-2023 *\/ .elementor-widget-image{text-align:center}.elementor-widget-image a{display:inline-block}.elementor-widget-image a img[src$=”.svg”]{width:48px}.elementor-widget-image img{vertical-align:middle;display:inline-block} George Rickey, Peristyle III, 1966. Stainless steel, 40 x 102 1\/4 x 5 1\/4 in. American University Museum at the Katzen Arts Center. Gift from the Trustees of the Corcoran Gallery of Art (Gift of the Friends of the Corcoran). George Rickey\u2019s Peristyle […]<\/p>\n","protected":false},"author":4087,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-381","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages\/381","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/users\/4087"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/comments?post=381"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages\/381\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/media?parent=381"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":379,"date":"2023-04-11T18:12:08","date_gmt":"2023-04-11T18:12:08","guid":{"rendered":"https:\/\/edspace.american.edu\/still-moving\/?page_id=379"},"modified":"2023-07-19T16:24:11","modified_gmt":"2023-07-19T16:24:11","slug":"albers","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/still-moving\/albers\/","title":{"rendered":"Albers"},"content":{"rendered":"\t\t

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Anni Albers, Line Involvement VI from the Line Involvements portfolio, 1964. Lithograph in black on Arches paper, 19 3\/4 x 14 5\/8 in. American University Museum at the Katzen Arts Center. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Olga Hirshhorn).<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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“Anni Albers stated that she \u201cfound that, in lithography, the image of threads could project a freedom [I] had never suspected.\u201d Line Involvements VI<\/em>, 1964, distinctly echoes Albers\u2019 own words as the viewer is forced to confront this set of loosely woven threads, threatening to unravel but remaining suspended on the picture plane for eternity. Made by one of the twentieth century’s most influential weavers and textile designers, Line Involvements VI<\/em> visualizes the artist\u2019s deviation from definable notions of order towards a continuous cycle of contained chaos. Anni Albers in an interview with Gene Baro, Anni Albers (Brooklyn: The Brooklyn Museum 1977), 7.”<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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More on Line Involvements VI<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tRead Tessa Solomon's biographical account of Albers's life and career.<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tRead Hyunsoo Kim's \"Reframing Anni Albers and Bauhaus,\" featuring interviews by the artist.<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tPotential<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

\/*! elementor – v3.12.1 – 02-04-2023 *\/ .elementor-widget-image{text-align:center}.elementor-widget-image a{display:inline-block}.elementor-widget-image a img[src$=”.svg”]{width:48px}.elementor-widget-image img{vertical-align:middle;display:inline-block} Anni Albers, Line Involvement VI from the Line Involvements portfolio, 1964. Lithograph in black on Arches paper, 19 3\/4 x 14 5\/8 in. American University Museum at the Katzen Arts Center. Gift from the Trustees of the Corcoran Gallery of Art (Gift of […]<\/p>\n","protected":false},"author":4087,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-379","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages\/379","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/users\/4087"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/comments?post=379"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages\/379\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/media?parent=379"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":376,"date":"2023-04-11T18:09:57","date_gmt":"2023-04-11T18:09:57","guid":{"rendered":"https:\/\/edspace.american.edu\/still-moving\/?page_id=376"},"modified":"2023-07-19T16:24:35","modified_gmt":"2023-07-19T16:24:35","slug":"ichihashi","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/still-moving\/ichihashi\/","title":{"rendered":"Ichihashi"},"content":{"rendered":"\t\t

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Taro Ichihashi, Wajima II, 1980. Acrylic, bronze powder, aluminum powder, and pencil on heavy white paper, 30 x 22 7\/8 in. American University Museum at the Katzen Arts Center. Gift from the Trustees of the Corcoran Gallery of Art (Museum Purchase).<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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In Taro Ichihashi\u2019s Wajima II<\/em> (1980), a gold triangle floats in a two by four grid. The dark gray grid made with pencil and aluminum powder sits in the lower half of the paper. The paper, originally white, is made completely black with acrylic paint. With a title that alludes to a Japanese city known for its lacquerware, Wajima II represents Ichihashi\u2019s position as an immigrant artist. Ichihashi\u2019s artwork balances his Japanese homeland and the country which afforded him the ability to be a working artist: the United States. The immigrant body is one which is in constant motion: vacillating between home and homeland.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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More on Wajima II<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tIchihashi is alive and working today! View is digital portfolio on his website.<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tRead Corey Kilgannon's review of Ichihashi's work.<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tPotential<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

\/*! elementor – v3.12.1 – 02-04-2023 *\/ .elementor-widget-image{text-align:center}.elementor-widget-image a{display:inline-block}.elementor-widget-image a img[src$=”.svg”]{width:48px}.elementor-widget-image img{vertical-align:middle;display:inline-block} Taro Ichihashi, Wajima II, 1980. Acrylic, bronze powder, aluminum powder, and pencil on heavy white paper, 30 x 22 7\/8 in. American University Museum at the Katzen Arts Center. Gift from the Trustees of the Corcoran Gallery of Art (Museum Purchase). In Taro […]<\/p>\n","protected":false},"author":4087,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-376","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages\/376","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/users\/4087"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/comments?post=376"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages\/376\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/media?parent=376"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":375,"date":"2023-04-11T17:52:52","date_gmt":"2023-04-11T17:52:52","guid":{"rendered":"https:\/\/edspace.american.edu\/still-moving\/?page_id=375"},"modified":"2023-07-19T16:24:16","modified_gmt":"2023-07-19T16:24:16","slug":"elliott","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/still-moving\/elliott\/","title":{"rendered":"Elliott"},"content":{"rendered":"\t\t

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Ronnie Elliott, Hommage a Charlie Parker, 1973. Black felt-tip pen and black and gray wash on white paper, 24 1\/8 x 18 1\/8 in. American University Museum at the Katzen Arts Center. Gift from the Trustees of the Corcoran Gallery of Art (Gift of William H. G. FitzGerald, Desmond FitzGerald, and B. Francis Saul II).<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Ronnie Elliott\u2019s piece pays tribute to the American jazz saxophonist Charlie Parker. While creating the work, Elliott would have played Parker\u2019s music and used the sounds of his saxophone to dictate her strokes. Her use of monochromatic black in this work is representative of her attempt to translate audio content into a visual medium, treating the surface of this work as a musical staff. The contours of the lines bring forth the image of a staff and the circles are reminiscent of the notes on the page. This is further exemplified as some of the lines call into mind the shapes of treble and bass clefs.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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More on Hommage a Charlie Parker<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tRead the full catalog essay by Alexis Shulman<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tRead Frederick Suro's article, \"Ronnie Elliott: A Restless Spirit.\"<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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“Elliott works in such a way where you can feel her process and the way her pen moves by just looking at the pen strokes. Her work invites a sort of conversational dance between the viewer and the paper.”<\/p>

– Alexis Shulman, co-curator, American University\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tPresent<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tPotential<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

\/*! elementor – v3.12.1 – 02-04-2023 *\/ .elementor-widget-image{text-align:center}.elementor-widget-image a{display:inline-block}.elementor-widget-image a img[src$=”.svg”]{width:48px}.elementor-widget-image img{vertical-align:middle;display:inline-block} Ronnie Elliott, Hommage a Charlie Parker, 1973. Black felt-tip pen and black and gray wash on white paper, 24 1\/8 x 18 1\/8 in. American University Museum at the Katzen Arts Center. Gift from the Trustees of the Corcoran Gallery of Art (Gift […]<\/p>\n","protected":false},"author":4087,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-375","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages\/375","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/users\/4087"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/comments?post=375"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages\/375\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/media?parent=375"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":373,"date":"2023-04-11T17:38:29","date_gmt":"2023-04-11T17:38:29","guid":{"rendered":"https:\/\/edspace.american.edu\/still-moving\/?page_id=373"},"modified":"2023-07-19T16:24:28","modified_gmt":"2023-07-19T16:24:28","slug":"hunt","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/still-moving\/hunt\/","title":{"rendered":"Hunt"},"content":{"rendered":"\t\t

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Richard Hunt, Mountain Shift, 1985. Color lithograph on paper, 22 1\/4 x 28 1\/2 in. American University Museum at the Katzen Arts Center. Gift of Barrett Linde.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Richard Hunt\u2019s lithograph Mountain Shift<\/em> (1985) demonstrates a turbulent shift in the mood of the nation. The mountain is the most prominent element in a landscape shifting both literally and figuratively. Hunt\u2019s color choices allude to natural elements that ground the form within the land. The thick shades of green are reminiscent of lush forests that tend to grow at the base and along the sides of mountains. The quick angular strokes of blue down the side of the mountain could portray a stream coming down from the peak. However, the mountain is actively erupting. Red and yellow lines break through the mountain as though lava and fire breaking free from the rock. This abstracted physical eruption can also relate to an emotional eruption gesturing to the shifts in the United States\u2019 socio-political landscape.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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More on Mountain Shift<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tRead the full catalog essay by Gary Caudill.<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tSee Richard Hunts Studio.<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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“I chose to study Mountain Shift by Richard Hunt because of my immidate attraction to landscapes. Hunts vibrate landscape tells a story that I wished to unravel.”<\/p>

– Gary Caudill, co-curator, American University\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tPast<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tPresent<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tPotential<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

\/*! elementor – v3.12.1 – 02-04-2023 *\/ .elementor-widget-image{text-align:center}.elementor-widget-image a{display:inline-block}.elementor-widget-image a img[src$=”.svg”]{width:48px}.elementor-widget-image img{vertical-align:middle;display:inline-block} Richard Hunt, Mountain Shift, 1985. Color lithograph on paper, 22 1\/4 x 28 1\/2 in. American University Museum at the Katzen Arts Center. Gift of Barrett Linde. Richard Hunt\u2019s lithograph Mountain Shift (1985) demonstrates a turbulent shift in the mood of the nation. […]<\/p>\n","protected":false},"author":4087,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-373","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages\/373","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/users\/4087"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/comments?post=373"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages\/373\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/media?parent=373"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":360,"date":"2023-04-11T02:40:03","date_gmt":"2023-04-11T02:40:03","guid":{"rendered":"https:\/\/edspace.american.edu\/still-moving\/?page_id=360"},"modified":"2023-07-19T16:24:40","modified_gmt":"2023-07-19T16:24:40","slug":"ireland","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/still-moving\/ireland\/","title":{"rendered":"Ireland"},"content":{"rendered":"\t\t

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Patrick Ireland, Dots, 1972. Ink drawing on paper. 29 x 23 1\/8 in. American University Museum at the Katzen Arts Center. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Olga Hirshhorn).<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\/*! elementor – v3.12.1 – 02-04-2023 *\/ .elementor-widget-image{text-align:center}.elementor-widget-image a{display:inline-block}.elementor-widget-image a img[src$=”.svg”]{width:48px}.elementor-widget-image img{vertical-align:middle;display:inline-block} Patrick Ireland, Dots, 1972. Ink drawing on paper. 29 x 23 1\/8 in. American University Museum at the Katzen Arts Center. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Olga Hirshhorn). Past Present Potential<\/p>\n","protected":false},"author":4087,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-360","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages\/360","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/users\/4087"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/comments?post=360"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages\/360\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/media?parent=360"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":358,"date":"2023-04-11T02:33:24","date_gmt":"2023-04-11T02:33:24","guid":{"rendered":"https:\/\/edspace.american.edu\/still-moving\/?page_id=358"},"modified":"2023-07-19T16:24:45","modified_gmt":"2023-07-19T16:24:45","slug":"nevelson","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/still-moving\/nevelson\/","title":{"rendered":"Nevelson"},"content":{"rendered":"\t\t

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Louise Nevelson, Untitled, 1971. Lead intaglio plates on ragboard. American University Museum at the Katzen Arts Center. Gift from the Trustees of the Corcoran Gallery of Art.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Looking at Untitled<\/em> (1971), Louise Nevelson\u2019s interest in the monochromatic is evident. Yet, as the three sections reveal, the work appears to be made of many gray tones rather than only one. Looking even closer, the scratches and uneven globs change our perception of what appeared to be a smooth surface. Nevelson reminds us that one can always uncover more when looking even at that which previously appeared to be obvious. When looking closer, one can see that this is not canvas at all but lead intaglio plates, objects used in the printmaking process to engrave, adhered to a rag board.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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More on Untitled<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tRead the full catalog essay by Hannah Spears<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tRead Julia Bryan-Wilson's article \"Keeping House with Louise Nevelson.\"<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tRead Laurie Wilson's book, \"Louise Nevelson: Light and Shadow.\"<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tRead \"Louise Nevelson: The Way I Think is Collage,\" a catalog of the artist's collages.<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tRead \"Louise Nevelson in Venice\"<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tRead \"Celebrating Louise Nevelson\u2019s Eclectic Sense of Style On the Occasion of Celine\u2019s Artist-Inspired Jewelry Release\"<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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“Everyone should know the work and life of Louise Nevelson. She experienced fame while alive, which not all artists can claim, and still remains an important figure in modern art.”<\/p>

– Hannah Spears, co-curator, American University\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\/*! elementor – v3.12.1 – 02-04-2023 *\/ .elementor-widget-image{text-align:center}.elementor-widget-image a{display:inline-block}.elementor-widget-image a img[src$=”.svg”]{width:48px}.elementor-widget-image img{vertical-align:middle;display:inline-block} Louise Nevelson, Untitled, 1971. Lead intaglio plates on ragboard. American University Museum at the Katzen Arts Center. Gift from the Trustees of the Corcoran Gallery of Art. Looking at Untitled (1971), Louise Nevelson\u2019s interest in the monochromatic is evident. Yet, as the three […]<\/p>\n","protected":false},"author":4087,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-358","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages\/358","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/users\/4087"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/comments?post=358"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages\/358\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/media?parent=358"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":353,"date":"2023-04-11T02:07:13","date_gmt":"2023-04-11T02:07:13","guid":{"rendered":"https:\/\/edspace.american.edu\/still-moving\/?page_id=353"},"modified":"2024-02-08T17:42:22","modified_gmt":"2024-02-08T17:42:22","slug":"present","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/still-moving\/present\/","title":{"rendered":"Present"},"content":{"rendered":"\t\t

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PRESENT<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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This selection of works grounds the viewer in the present moment. Certain pieces are physically activated, such as in response to shiftinng air currents. Others require mental activation through consideration of racial struggle and the ceaseless movement of migrant bodies, as well as the visual untangling of an endless knot. Collective engagement by artist, viewer, and the work is required to grasp this selections commitment to movement in the present moment.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Click the images below to engage with each artwork.\u00a0\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Anne Truitt, Summer Snow, 1974<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Ronnie Elliott, Hommage a Charlie Parker, 1973<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Louise Nevelson, Untitled, 1971<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Sue Fuller, String Composition #144, 1967<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Patrick Ireland, Dots, 1972<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Anni Albers, Line Involvement VI, 1964<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Richard Hunt, Mountain Shift, 1985<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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George Rickey, Peristyle III, 1966<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Taro Ichihashi, Wajima II, 1980<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Lorem ipsum dolor sit amet, consectetur adipiscing elit. Ut elit tellus, luctus nec ullamcorper mattis, pulvinar dapibus leo.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tPast<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tPresent<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tPotential<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

\/*! elementor – v3.19.0 – 07-02-2024 *\/ .elementor-heading-title{padding:0;margin:0;line-height:1}.elementor-widget-heading .elementor-heading-title[class*=elementor-size-]>a{color:inherit;font-size:inherit;line-height:inherit}.elementor-widget-heading .elementor-heading-title.elementor-size-small{font-size:15px}.elementor-widget-heading .elementor-heading-title.elementor-size-medium{font-size:19px}.elementor-widget-heading .elementor-heading-title.elementor-size-large{font-size:29px}.elementor-widget-heading .elementor-heading-title.elementor-size-xl{font-size:39px}.elementor-widget-heading .elementor-heading-title.elementor-size-xxl{font-size:59px} PRESENT \/*! elementor – v3.19.0 – 07-02-2024 *\/ .elementor-widget-divider{–divider-border-style:none;–divider-border-width:1px;–divider-color:#0c0d0e;–divider-icon-size:20px;–divider-element-spacing:10px;–divider-pattern-height:24px;–divider-pattern-size:20px;–divider-pattern-url:none;–divider-pattern-repeat:repeat-x}.elementor-widget-divider .elementor-divider{display:flex}.elementor-widget-divider .elementor-divider__text{font-size:15px;line-height:1;max-width:95%}.elementor-widget-divider .elementor-divider__element{margin:0 var(–divider-element-spacing);flex-shrink:0}.elementor-widget-divider .elementor-icon{font-size:var(–divider-icon-size)}.elementor-widget-divider .elementor-divider-separator{display:flex;margin:0;direction:ltr}.elementor-widget-divider–view-line_icon .elementor-divider-separator,.elementor-widget-divider–view-line_text .elementor-divider-separator{align-items:center}.elementor-widget-divider–view-line_icon .elementor-divider-separator:after,.elementor-widget-divider–view-line_icon .elementor-divider-separator:before,.elementor-widget-divider–view-line_text .elementor-divider-separator:after,.elementor-widget-divider–view-line_text .elementor-divider-separator:before{display:block;content:””;border-block-end:0;flex-grow:1;border-block-start:var(–divider-border-width) var(–divider-border-style) var(–divider-color)}.elementor-widget-divider–element-align-left .elementor-divider .elementor-divider-separator>.elementor-divider__svg:first-of-type{flex-grow:0;flex-shrink:100}.elementor-widget-divider–element-align-left .elementor-divider-separator:before{content:none}.elementor-widget-divider–element-align-left .elementor-divider__element{margin-left:0}.elementor-widget-divider–element-align-right .elementor-divider .elementor-divider-separator>.elementor-divider__svg:last-of-type{flex-grow:0;flex-shrink:100}.elementor-widget-divider–element-align-right .elementor-divider-separator:after{content:none}.elementor-widget-divider–element-align-right .elementor-divider__element{margin-right:0}.elementor-widget-divider–element-align-start .elementor-divider .elementor-divider-separator>.elementor-divider__svg:first-of-type{flex-grow:0;flex-shrink:100}.elementor-widget-divider–element-align-start .elementor-divider-separator:before{content:none}.elementor-widget-divider–element-align-start .elementor-divider__element{margin-inline-start:0}.elementor-widget-divider–element-align-end .elementor-divider .elementor-divider-separator>.elementor-divider__svg:last-of-type{flex-grow:0;flex-shrink:100}.elementor-widget-divider–element-align-end .elementor-divider-separator:after{content:none}.elementor-widget-divider–element-align-end .elementor-divider__element{margin-inline-end:0}.elementor-widget-divider:not(.elementor-widget-divider–view-line_text):not(.elementor-widget-divider–view-line_icon) .elementor-divider-separator{border-block-start:var(–divider-border-width) var(–divider-border-style) […]<\/p>\n","protected":false},"author":4087,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-353","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages\/353","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/users\/4087"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/comments?post=353"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/pages\/353\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/still-moving\/wp-json\/wp\/v2\/media?parent=353"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}]