exhibit

This exhibition catalog explores the 2010 monumental work Circle of Animals/Zodiac Heads, created by internationally acclaimed contemporary Chinese artist and social activist Ai Weiwei. The work is a reimagining of a Qing dynasty zodiac water-clock system at the Old Summer Palace near Beijing, which was looted in 1850 during the Second Opium War. Ai reinterpreted the original fountainheads in a gold series and a bronze series, as his first monumental public art installation.

One of the best-known artists of the 20th century, Pablo Picasso was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet, and playwright who spent most of his adult life in France. Picasso is often remembered for his cubist paintings, but he continued to experiment with new styles and materials throughout his life. During the 1950s and 1960s, Picasso commissioned Francois Hugo, great-grandson of French writer Victor Hugo, to execute a series of plates, dishes, and medallions in gold and silver. The plates were modeled after Picasso’s original ceramics designs.

Georges Braque was a major 20th-century French painter, sculptor, draughtsman, and printmaker. At the age of 79, Braque turned his attention to jewelry. He teamed up with master jeweler Baron Heger de Löwenfeld to turn 110 gouache maquettes into intricately textured gold sculptures inlaid with precious stones. The collection, inspired by Greek mythology, incorporates themes of flight and metamorphosis. The two artists worked so closely together that Braque referred to De Löwenfeld as the “continuation of my hand.”

Lawrence Weiner is a conceptual artist who has used language as his primary medium since 1968, when he concluded that viewers could experience the same effect from reading a verbal description of his work as they could from viewing the work itself. Since that point, he has been best-known for his word sculptures—short poems and witticisms applied to walls in plain lettering, always translated into the language of the country in which they are shown. In 1995, the Middelheim Museum in Antwerp commissioned Weiner to create a work for its permanent collection.

Whether through direct influences or broader affinities, African, Pre-Columbian, and Indigenous American objects undoubtedly informed the practice of Western artists throughout the 20th century. This catalog, from the inaugural show at New York’s Pace Primitive Gallery, juxtaposes body objects from African, Pre-Columbian, and Indigenous American cultures with jewelry by Alexander Calder, Ernest Trova, Louise Nevelson, and Pablo Picasso.

The “objects” of American artist Man Ray’s affection were small, limited-edition sculptures.

Joseph H. Hirshhorn, founding donor of the Smithsonian Institution’s Hirshhorn Museum and Sculpture Garden, was an avid collector and supporter of Pablo Picasso. The two became friends after being introduced by photographer Edward Steichen.

The late-16th century was the golden age of Japanese screen painting, both literally and figuratively. The Momoyama period (1573-1615) was also an age of monumental architecture, with feudal lords building forts and castles of a size unprecedented in Japan. The great masters of the art of screen painting who were called upon to decorate the interiors of these large buildings filled them with screens of bold and innovative aesthetics, some with gold leaf covering their entire surfaces. Japan had a well-established tradition of incorporating gold leaf into art and decorative work.

Although black—the color that contains all colors—has been American sculptor Louise Nevelson’s signature color, the artist began incorporating white and gold into her work in the 1960s. This announcement for an exhibition of sculptures by Nevelson at The Pace Gallery, New York, October 23-November 28, 1992, reflects her limited palette. Reproductions of her assemblage sculptures are presented in three die-cut printed pop-ups, printed in silver and gold. Nevelson herself is pictured in a silver-printed portrait on the front cover. The entire elegant presentation is ribbon-tied.