‘The windows place indigenous and Christian traditions in a creative conversation of light and shadow that brings Wellesley’s multifaith vision to life.’
—Tiffany Steinwert, Dean of Religious and Spiritual Life
Santa Claus And Rudolph Wall Decal Winter Christmas Window Wall Decorations, h88
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Located in: Sherman Oaks, California, United States
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eBay item number: 123963631870
Last updated on Nov 09, 2022 08:23:12 PST View all revisions View all revisions
Condition
New: A brand-new, unused, unopened, undamaged item in its original packaging (where packaging is . Read more about the condition New: A brand-new, unused, unopened, undamaged item in its original packaging (where packaging is applicable). Packaging should be the same as what is found in a retail store, unless the item is handmade or was packaged by the manufacturer in non-retail packaging, such as an unprinted box or plastic bag. See the seller’s listing for full details. See all condition definitions opens in a new window or tab
Material
Vinyl
Brand
Prime Decals
Theme
Holiday
Type
Wall Decal
Room
Bedroom, Living Room, Family Room
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Removable, Window
Does Not Apply
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United States
Seller assumes all responsibility for this listing.
eBay item number: 123963631870
Last updated on Nov 09, 2022 08:23:12 PST View all revisions View all revisions
Item location:
Sherman Oaks, California, United States
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| Shipping and handling | To | Service | Delivery* See Delivery notes |
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| US $26.95 | Poland | USPS First Class Mail International / First Class Package International Service | Estimated between Mon, Nov 27 and Fri, Dec 22 to 00-510 |
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| Will ship within 10 business days of receiving cleared payment. The seller has specified an extended handling time for this item. |
Transformed By Light
Unabashedly bright and multicolored, the new set of stained glass windows in Houghton Memorial Chapel calls to mind a kaleidoscope with its bursts of geometric patterns. The windows bring an exuberant sensibility into the chapel, one that gives expression to the diversity of life experiences and beliefs that exist on campus.
The windows, given by Patricia Kopf Colagiuri ’55 in memory of her parents, Elizabeth and Rudolph Kopf, are a departure from the chapel’s existing windows. They were designed by artist Jeffrey Gibson (b. 1972), a member of the Mississippi Band of Choctaw Indians and of Cherokee descent, with Southern Baptist roots (his two grandfathers were ministers), and assembled in part by women weavers of Mayan ancestry in Guatemala.
This commission was Gibson’s first foray into stained glass. He trained as a painter and has more recently worked in beads and in textiles. In his 20s, he was struck by the similarities between geometric abstraction in modern art and indigenous art.
In many houses of worship, stained glass traditionally depicts biblical themes, historical figures, or religious symbols. Gibson’s designs for the new windows dispense with representationalism altogether. Instead, he uses geometric abstraction: circles, triangles, and squares. These shapes convey cultural meaning across many different societies. So the windows, by being nonrepresentational, leave interpretation to the viewer.
Patricia Kopf Colagiuri ’55 (center) with her family, including Wellesley daughters Jennifer Colagiuri Eccles ’81 and Elizabeth Colagiuri McClung ’85, and President Johnson at the dedication of the windows
Photo by Shawn Cooper
The three windows: To Become Day, Mean Solar Day, and Evening Civil Twilight
Photo by Shawn Cooper
Photo by Shawn Cooper
Artist Jeffrey Gibson at the window dedication.
Photo by Aniqa Hassan ’20
The triptych is part of an ongoing effort to make the chapel space more welcoming to everyone. In a newsletter announcing the new windows, Dean of Religious and Spiritual Life Tiffany Steinwert aptly described the challenge: “… many colleges and universities—daunted by the conflict between monofaith institutional history and multifaith contemporary community—responded by de-emphasizing religious and spiritual dimensions altogether … . Wellesley has embraced, explored, and fostered the ideals and practices of a truly diverse multifaith community.”
In 2012, a new stained glass window designed in the traditional style was installed in the chapel. The graceful Veritas window, with the allegorical figure of Truth represented by a woman of African ancestry, also depicts symbols of the world’s religions.
For the new triptych, the committee formed to shepherd its development decided to commission a contemporary artist. “It was love at first sight with Jeffrey,” says Daniela Rivera, associate professor of art and a member of the committee. “He was such a good listener and so articulate about his work.”
Gibson needed guidance to translate his design into the language of stained glass. Enter Lyn Hovey, president of Lyn Hovey Studio in Norton, Mass., and a longtime expert in stained glass. “It’s like a composer writing for an instrument he doesn’t know,” Hovey says of an artist moving from painting to stained glass. “But Jeffrey was very open to learning.”
‘The windows place indigenous and Christian traditions in a creative conversation of light and shadow that brings Wellesley’s multifaith vision to life.’
—Tiffany Steinwert, Dean of Religious and Spiritual Life
Usually, an artist will turn over his design to the stained-glass studio to complete. But Hovey encouraged Gibson to participate in the selection of the glass itself. Working with a range of more than 300 colors of mouth-blown glass from Europe, Gibson spent hour upon hour at a light table choosing colors. He obtained an even wider array of colors by layering: The glass ranges from one to three layers thick. He later traveled to Hovey’s studio in Guatemala, where a “sky platform” was erected that enabled the artist to lie on the floor and look up through the layers of glass before they were soldered together. This process enabled him to see the design in a manner that more closely resembled the effect of light through the chapel windows.
In Guatemala, Hovey’s crew and a quartet of indigenous women—chosen because of their dexterity in weaving—completed the work on the designs. In all, more than 5,000 pieces of glass were used in the three windows. At Wellesley, experts from Hovey’s studio installed the triptych.
At the dedication ceremony, Gibson and Hovey spoke about how the windows capture the changes in light throughout the day, and over the seasons. The designs reflect, and respond to, the cyclical nature of darkness and light, despair and hope, stasis and transformation.
“The windows place indigenous and Christian traditions in a creative conversation of light and shadow that brings Wellesley’s multifaith vision to life,” Steinwert says.
Rivera agrees. “These windows, created by all these diverse groups, embody the diversity of the College,” she says. “The collaboration that went into their making transformed our mandate in a way that was surprising and even more giving than we had asked for.”
Some visitors to the chapel might be taken aback by the colors and abstract nature of the windows, especially in such a traditional setting. Some might prefer a quieter religious experience than the “ecstatic spirituality” Gibson hoped to convey.
Hovey says there’s room for both experiences. “There are different ways to express the most spiritual aspects of our lives. Ancient peoples made cave paintings and told stories through them. The Maya tell stories through their sculpture. One couldn’t say that the Pietà [by Michelangelo] is any more spiritual than the cave painting. It’s just that there are different ways to capture it.”
The Wonderful World of Rudy Burckhardt
When it comes to the artistic community of New York City, especially from the late-1930s to the end of the 20th century, I can think of many writers, photographers, and artists who readily qualify as flaneurs, but there is only who matched Charles Baudelaire’s description of the “passionate spectator,” someone who could be called “a kaleidoscope gifted with consciousness, responding to each one of its movements and reproducing the multiplicity of life and the flickering grace of all the elements of life.”
Rudy Burckhardt, “Flat Iron Building, Winter”
(1947/48) (vintage), gelatin-silver print, 7 1/4 x 8 1/8 inches
In his films and photographs, Rudy Burckhardt captured the “flickering grace” of New York, particularly in the resolute movement and idle hanging out of its citizens. However, in contrast to Baudelaire’s mordant wit, Burckhardt imbued his work with an infectious innocence and gentle delight that, paradoxically, also infuses it with a quiet melancholy and gravity that is not immediately apparent.
If, like me, you are at all curious about how different the landscape of New York, as well as its inhabitants in their fashions and tastes, look since the 20th century ended, then you should make your way to Rudy Burckhardt: Subterranean Monuments: Photographs, Paintings and Films: A Centenary Celebration at Tibor de Nagy (November 29, 2014–January 17, 2015). Burckhardt, who was never interested in focusing on his career, worked across different mediums long before it became fashionable. In addition to a selection of his photographs, paintings and films, this exhibition includes books, collage postcards, a typed poem and two paintings done on mushrooms.
Rudy Burckhardt, “38th Street South” (1987), oil on linen, 38 x 32 inches
Aside from the films, the exhibition concentrates largely on two genres, still-life and landscape, whether of the city or of the woods near his house in Maine, where he went each summer from 1956 to 1999, the year that he died. Many of the views tend to be either close-ups of storefronts or trees, or vistas looking out over rooftops, as if the city were a mountainous landscape, which it is. The few exceptions, such as the black-and-white photograph, “Crossing” (1948), in which we see a row of people crossing the street in the foreground, with a cavern of tall buildings serving as a backdrop, hint at the range of what caught his eye. In this photograph, one is likely to recall the oft-quoted lines from William Shakespeare’s comedy, As You Like It: “All the world’s a stage, / And all the men and women merely players; / They have their exits and their entrances … ” As evidenced in the early film, “The Climate of New York” (1935), which is being shown along with other films, Burckhardt is empathetic to human purposefulness and vanity, from striding pedestrians to children digging in the mud with sticks and two women of different proportions comparing their new hairdos.
In all of the work, one senses Burckhardt’s interest in the chaotic order of everyday life and throwaway things. Although he is never emphatic, one senses his melancholic awareness of just how fleeting and enchanting, everything is. There is an emotional depth and complexity to the work that we have yet to fully plumb, perhaps because what comes across first is Burckhardt’s droll humor.
Burckhardt was born in Basel, Switzerland, in 1914. He went to London to study medicine, but gave it up when he discovered photography. He came to New York in 1935 with the poet Edwin Denby, who went on to become a great and influential dance critic. Both Denby and Burckhardt were interested in movement, but for very different reasons. Denby was interested in the gymnastic beauty a dancer could achieve, while Burckhardt was inspired by people going determinedly to and fro, as if something great awaited their arrival.
Rudy Burckhardt, “Ant” (1996), oil on canvas, 24 x 18 inches
Although Burckhardt studied painting briefly with Amédeé Ozenfant, he rightfully considered himself a primitive. In his essay, “How I Think I Made Some of My Photos and Paintings,” he describes a primitive painting:
A painting done without much skill; the finished picture is visualized beforehand, and the subject is more important than how it is painted, brought to a degree of completion, clear without ambiguity, without loose ends, as if it were the only painting ever made, outside of trends or history.
This is the conundrum that animates all of Burckhardt’s work. Born into a well-to-do Swiss family, he received a classical education that included, as he said, ‘many years of Latin and Greek.” As an artist, he is self-taught and at home in different mediums. He made crisp, sharply focused, close-up photographs of storefronts and newsstands, because that is what the subject demanded, while in his views from rooftops, he was as sensitive to the city’s haze and air as to the buildings in the distance. In the paintings done in Maine, he often focused on the bark of a tree and the lichen growing on it. Whatever he looked at became a subject of intense and loving scrutiny. In addition to close-ups and long views, he would juxtapose the two in a single photograph or painting without making the image seem contrived.
Rudy Burckhardt, “Willem de Kooning Studio I” (1950), gelatin-silver print, 7 x 8 inches
In the photograph “Willem de Kooning Studio I” (1950), the view is of a cabinet whose top is cluttered with coffee cans for soaking brushes in turpentine, cans of paint and paintbrushes by a window, where, across the street, a man and woman are walking in opposite directions.
In the still-life painting “Purple Band” (1946), Burckhardt has arranged a nail, a bolt, a striped bowl, a snail shell and a tourist replica of the Statue of Liberty on a table with a prominent knothole. A pair of pliers stands upright on the table, resting against the dirty plaster wall right behind the table, beside a colored postcard of an ocean liner with three smoke stacks, and on the far right, a nail hole. Everything in the painting is given its own space, and one senses from the postcard and Statue of Liberty replica that there is an autobiographical current running through his choices.
Rudy Burckhardt, “Snail and Can Opener” (1950), gelatin-silver print, 7 x 8 inches
In “38th Street South” (1987), done more than forty years after “Purple Band,” he is still a primitive paying close attention to what is in front of him. The painting is an aerial view of a gray, nondescript office building seen in the distance, wedged in by other buildings. It is the homeliest of the bunch, which is perhaps why Burckhardt gave it so much space in the painting. Within the grid of windows, he has been attentive to the overhead yellow fluorescent lights glowing in each little rectangle, each pair of them depicted at a slightly different angle. In his attention to such details, one senses that nothing else existed during the time he worked on this painting but the inconsequential things he was looking at.
Burckhardt wasn’t interested in the decisive moment or in overt social commentary. And yet, I would not call him an aesthete either. As someone who has passed the iconic New York building known as the Flat Iron countless times, and seen innumerable people photographing it, Burckhardt’s vintage photograph, “Flat Iron Building, Winter” (1947/48) presents a view that remains fresh. Seen from the air, it also underscores the resolve of New York real estate moguls to buy and build on whatever plot of land is available, including a triangular block bordered by the crisscrossing of Broadway and Fifth Avenue. It is when you get a sense of how narrow the building is — and this is because Burckhardt shows just the building’s prow-like front and the Broadway side that you realize how a combination of greed, ingenuity and vision (in this case, that of the architect Daniel Burnham) can result in something magical.
Installation view at Rudy Burckhardt exhibition
For me, one of the revelations of the exhibition was the inclusion of Burckhardt’s painted mushrooms, including a self-portrait, as well as collage postcards and a typed poem, which are indicative of how many different things he did throughout his life. In this museum-quality exhibition, it is quickly apparent that Burckhardt is essentially uncategorizable. To say that he is a photographer, filmmaker and painter seems almost meaningless because the work does and, more importantly, doesn’t fit together. What about the collages or the poem? Are there more of them? What are they like? What about a complete volume of his writings?
In the photograph, “Snail and Can Opener,” (1945), while looking at the way Burckhardt places a snail shell, its eye-like form, in the center of the objects he has arranged on table top, with a postcard of the Empire State Building on the wall behind, I was reminded of what Baudelaire wrote about “the perfect flaneur:” “[T]o see the world, to be at the center of the world, and yet to remain hidden from the world … ”
