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    Crystals in Art: Ancient to Today
    Crystals in Art: Ancient to Today
    Crystals in Art: Ancient to Today
    Ebook204 pages2 hours

    Crystals in Art: Ancient to Today

    By Lauren Haynes and Joachim Pissarro

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    About this ebook

    Based on an exhibition organized by Joachim Pissarro and curator of contemporary art at Crystal Bridges Museum of American Art, Lauren Haynes, Crystals in Art: Ancient to Today explores the complex and varied connections between crystal and art throughout the world. Included are both ancient artifacts—such as engraved gems, figurines, and vases—and works from contemporary artists around the world that explore the power of crystal in art by drawing on its form, properties, and mysterious qualities. Featuring more than sixty-five works from ancient Egypt and Greece, through to Rome, China, India, Japan, the Middle East, the Americas, and beyond, this book invites readers to discover how the power of crystal transcends the boundaries of time and space.

    Taken together, all of these objects illustrate how crystal has bridged the gap between things we can see and things we can’t: science and art, fact and faith, medicine and magic—the visible and the invisible.

    Published in collaboration with Crystal Bridges Museum of American Art and University of Arkansas School of Art.

     
    LanguageEnglish
    PublisherUniversity of Arkansas Press
    Release dateOct 11, 2019
    ISBN9781610756808
    Crystals in Art: Ancient to Today

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      Book preview

      Crystals in Art - Lauren Haynes

      CRYSTALS IN ART

      Ancient to Today

      Lauren Haynes and Joachim Pissarro

      CRYSTAL BRIDGES MUSEUM OF AMERICAN ART

      The University of Arkansas Press

      Fayetteville

      2019

      CONTENTS

      FOREWORD BY ROD BIGELOW

      ACKNOWLEDGMENTS

      I. Essays

      1. Crystals in Art

      Joachim Pissarro

      2. The Quartz of Arkansas: Geology, History, and Legend

      T. R. Paradise

      3. A Conversation with Marina Abramović

      Joachim Pissarro

      II. Timeline

      Timeline of Quartz Crystal in World Arts and Culture: A Brief Introduction

      Stace Treat

      III. Plates

      Lauren Haynes, Robin Groesbeck, and Stace Treat

      1. Sacred and Transcendent

      2. Extravagance

      3. Spirituality and Mysticism

      4. Crystallic Form

      5. Crystal Universe

      WORKS IN THE EXHIBITION

      CONTRIBUTORS

      ILLUSTRATION CREDITS

      FOREWORD

      Crystals and Arkansas share a unique connection, as the state is one of the major producers of natural quartz crystal worldwide. Even more personal, our museum, based in Bentonville, Arkansas, received its namesake from the clear, hillside creek on the museum grounds called Crystal Spring. The museum’s bridge-like structures span ponds fed by Crystal Spring, thus completing our name: Crystal Bridges Museum of American Art.

      You could say, then, that an exhibition focused on crystals in art is a natural fit for us, highlighting a unique resource of our state and showcasing how this mineral has inspired artists and artisans since ancient times. Similar to Crystal Bridges’ mission of exploring the power of art alongside the beauty of nature, this exhibition draws on resources from both the artistic and the natural worlds.

      This exhibition began by merging the vision of a collaborative team at Crystal Bridges, guided by Robin Groesbeck, director of exhibitions and interpretation, alongside Joachim Pissarro, currently the Bershad Professor of Art History and Director of the Hunter College Galleries, Hunter College, CUNY/City University of New York. As the project progressed, Crystal Bridges curator of contemporary art Lauren Haynes took the lead for the Crystal Bridges team, focusing on contemporary artists, and Pissarro joined as an exhibition curator with expertise in antiquities. Geological insights on this intriguing mineral—including the essay you’ll find on page 13 by Dr. Thomas Paradise, professor of geosciences at the J. William Fulbright College of Arts and Sciences of the University of Arkansas—enhance the stories shared through the artwork.

      As a result, when you wander through the exhibition gallery or turn the pages of this catalog, you’ll discover a crystal treasure trove that includes ancient Roman objects, sixteenth-century reliquaries, 1970s screen prints by Andy Warhol, and contemporary works by artists including Marilyn Minter, Ai Weiwei and Marina Abramović. You’ll even encounter a monumental quartz crystal named The Holy Grail, mined in 1931 in west central Arkansas, an area that’s renowned for producing some of the largest and clearest quartz crystals in the world.

      We hope you’ll enjoy the journey as Crystals in Art: Ancient to Today blends artistry and nature in surprising and unique ways, much like Crystal Bridges itself.

      ROD BIGELOW

      Executive Director & Chief Diversity and Inclusion Officer

      Crystal Bridges Museum of American Art

      ACKNOWLEDGMENTS

      Crystals in Art: Ancient to Today is a fantastically collaborative project that shows Crystal Bridges at its best. This exhibition came to life from the ideas of cocurator Joachim Pissarro through many conversations with the museum’s team. The importance of Pissarro’s partnership and guidance on this project, along with the hard work of his dedicated team—Kelly Gardiner and Anna Jimenez—is immeasurable and cannot be overstated.

      I would like to thank all of the artists in the exhibition. They include: Marina Abramović; Ai Weiwei; Peter Alexander; Miya Ando; Alexis Arnold; Daniel Arsham; Judy Chicago; Gisela Colon; Tacita Dean; Jen DeNike; Wener Drewes; Albrecht Dürer; Olafur Eliasson; Fred Eversley; Eric Hilton; Robert Irwin; Anthony James; Kimsooja; Jacques-Henri Lartigue; John McCracken; Marilyn Minter; Carter Mull; Helen Pashgian; Cindy Sherman; De Wain Valentine; František Vobecky; Andy Warhol; and all of the unidentified artists and artisans who made many of the earlier works in this exhibition.

      In addition to the artists who lent their own work and the work of others, I would like to thank the following lenders to Crystals in Art: Almine Rech; Anat Ebgi Gallery; Andy Warhol Museum; Asian Art Museum; Blanton Museum of Art and Jeanne and Michael Klein; Cleveland Museum of Art; Gagosian Gallery and the Chris Burden Estate; Galerie Krinzinger; Galerie Perrotin, New York; J. Paul Getty Museum; Julian Sanders Gallery; Marian Goodman Gallery; Metropolitan Museum of Art; Museum of Fine Arts, Houston; Philadelphia Museum of Art; Smithsonian American Art Museum; Walker Art Center; James Zigras; Myrna and Stuart Aronoff; David Zwirner Gallery; Danelle and Matthew Ebbel; Toledo Museum of Art; Nahmad Collection. Monaco; The University of Arkansas Museum Collections; LIMA; Gisela Colon; and the private collectors who wish to remain anonymous. Thank you for trusting us with the care of your works during the run of this exhibition.

      This exhibition would not have been possible without the generous support of our exhibition sponsors: Avant Mining, LLC; Morris Foundation, Inc.; Frank and Pat Bailey; Kyle, Maury, and Finn Peterson; JT and Imelda Rose; and Blakeman’s Fine Jewelry. Thank you so much for allowing this project to come to life.

      A huge thanks also goes to David Scott Cunningham and the entire team at University of Arkansas Press who did so much to shape and guide this publication to its final state. An enormous thank you to Diane Carroll, chief communications and marketing officer at Crystal Bridges, for guiding both this partnership and the collaboration.

      In addition to catalog contributors Joachim Pissarro and Marina Abramović who have already been mentioned, I would like to thank Tom Paradise for his thoughtful and informative contribution to the Crystals in Art catalog.

      I would like to extend a huge thank you to the Crystals in Art team at Crystal Bridges. Leesha Alston, registrar of exhibitions; Jessi Mueller, exhibition designer; Sara Segerlin, senior manager of public programs and community engagement; Stace Treat, interpretation manager; Anna Vernon, creative director; and everyone on the collections management team who assisted with this project. Additional thanks to Jayson Overby, curatorial assistant in contemporary art, who jumped fully into this project early on in his tenure at Crystal Bridges. This exhibition as well as the catalog benefitted greatly from his excitement and enthusiasm. Thanks

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