At the Nasher Sculpture Center, our Visitor Experience team is comprised of artists and art historians who bring a sense of curiosity and care to every conversation in the galleries. Their daily engagement with the special exhibitions and deep knowledge of the Nasher collection gives them a unique perspective on how visitors connect with the art on view. Through dialogue, observation, and research, our team is ready to guide visitors and educate them on details that could be overlooked. Whether discussing the architecture, the museum’s history, or each individual work on view, they help foster thoughtful and personal experiences with art.
For Generations: 150 Years of Sculpture, our Visitor Experience team selected specific artworks that resonate with them. The exhibition spans a century and a half of sculptural practice, from modern masters to contemporary voices, tracing themes of the human figure, mechanical movement, abstraction, and our connection to the natural world.
Michaela has chosen to discuss the whimsical Cake (2012) by Beverly Semmes, a wonky clay sculpture that uses the motif of a pot or vase to create an unconventional form. Michaela was originally drawn to the piece for its vibrant red color and playful texture, appearing to have just jumped off the pages of Alice in Wonderland.
In this video, Corin digs into the hidden message found within Welcome to Warkworth Farm: This Side Paradise (2020-2021) by Michael Corris, a three-panel screen with LED letters. Corin enjoys puzzles and was originally drawn to decoding the piece, but after more research she began to appreciate the ideas that Corris touches on regarding the value of art.
When Chris first laid eyes on Tony Cragg’s Glass Instruments (1987), he felt like he had just stumbled upon an archeological dig site. In this video, Chris explores the themes of science and nature that are present within the unexpecting lab equipment display.
Isabel is intrigued by the fascinating history and theories of found object assemblage artists from Texas, one artist being David McManaway. In Ahab (1989), McManaway stacks found objects into a totem-like sculpture complete with two blue eyes and a zipper mouth.
Marjaneh chose Nairy Baghramian’s Slip of the Tongue (2015), focusing on the visceral texture and posture that the abstract sculpture embodies. But then she discovered the unexpected connection between Slip of the Tongue and a nearby sculpture by Matthew Ronay titled Leprosy Hand on Vagina Float (2004).
Mary was drawn towards Jeff Gibbons’s B.O.B.O (Boat O.A.R (Oceanic Auto-Reclaimer)) (2020) for its ability to tackle serious subject matter in a playful and sometimes silly manner.
The Visitor Experience team’s reflections offer entry points into this rich history, highlighting moments of innovation, memory, and emotional depth that continue to shape the language of sculpture. During your next visit to the Nasher, we hope that you allow them to share their invaluable knowledge about the work on view with you.