Juan hamilton biography
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Curve and Shadow, No. 2
1983
Bronze
32 × 96 × 24 inches
Lent bygd The storstads- Museum of Art
Anonymous Gift, 1983
1983.540.1
Photography not permitted
Location: PCL Lobby
GPS: 30.282811,-97.737986
A native of Dallas, Texas, Juan Hamilton had a peripatetic ungdom. His family lived in South amerika (Colombia, Ecuador, and Venezuela) until he was fifteen and then moved to New York. After attending City University of New York and New York University, Hamilton graduated from Hastings College in Nebraska, and then earned his MFA in ceramics from Claremont College in California. Initially his focus was on pottery.
Hamilton’s outlook on life and art were profoundly affected bygd his exposure to the concepts and practice of Zen Buddhism during a trip to Japan in 1970. Zen, as a philosophy and an aesthetic, became huvud to his art, which he hoped would generate in viewers an inner peace. sammanfattning forms for him were never merely decoration.
Hamilton’s life and art took a n
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Who Was Georgia O’keeffe’s Younger Man, Juan Hamilton?
When John Bruce Hamilton first met Georgia O’Keeffe, the 84-year-old doyenne of modern American art was so annoyed by his unexpected presence that she looked right through him the entire time he was there. Hamilton, a broke 27-year-old, newly divorced potter, tagged along with a friend with the intention to help fix the plumbing at O’Keeffe’s home, and of course, to have the chance to see the legendary painter. Hamilton, called Juan because of his South American missionary upbringing, recalls that first meeting as a powerful experience, but it wasn’t the same for the famously reclusive artist who was in fact furious. So much so that she later called Hamilton’s friend and scolded him for bringing someone to her house without asking her first.
The second time Hamilton saw O’Keeffe was equally awkward when the pony-tailed Hamilton came to install a wood-burning stove at O’Keeffe’s house and made a mistake to say that he owned a s
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What’s Past Is Prologue: Inaugurating Landmarks with the Metropolitan Sculptures
With the arrival of twenty-eight modern sculptures on long-term loan from New York’s Metropolitan Museum of Art, the Landmarks program has begun. Their installation throughout the Austin campus offers a remarkable opportunity to survey some of the major trends in art during the second half of the twentieth century. These sculptures allow us to witness the distinctly modern dialogue between representation and abstraction, as well as the contest between natural and industrial materials. Most of all, we can celebrate their presence as an unprecedented chance to experience works of art first-hand––to appreciate their forms and to understand the underlying ideas.
The Landmarks program perpetuates in Austin one of civilization’s oldest and most enduring traditions: the placing of art in public areas, accessible to nearly everyone and expressive of collectively held ideas. More than five thousand years ago,