Carlos & Samuel

/

Carlos & Samuel, 2006
John Sonsini (b. 1950)
Oil on canvas
George Mason University Art Collection
Gift of Anonymous Donor

Currently on view at the Facilities Administration Conference Room.

John Sonsini is known for his deep exploration of male subjects, and his subjects include gay and non-gay individuals, working-class men, Latino immigrants, and day laborers from Los Angeles street corners. Sonsini's frequent subject, a Mexican American immigrant named Gabriel, played a significant role in shaping his artistic direction. Under Gabriel's influence, Sonsini shifted from painting exclusively nude or half-dressed poses with homoerotic undertones to painting fully clothed men, creating a more inclusive and personal connection with his subjects.

Based in downtown Los Angeles, Sonsini often painted portraits of day laborers from Latin America, depicting them in the modest clothes they wear while waiting for work.  His art often combines abstraction with the human figure, and he emphasizes personal encounters with live models in his work. Sonsini's paintings are known for their collaborative nature, with many of the colors and poses inspired by the sitters themselves. Sonsini believes that finding one specific subject can be as essential as searching for a broader theme. With a successful career and growing recognition, Sonsini continues to create art, frequently painting his subjects in group portraits. 

Put the "I" in Civic by Linda Hesh

/

Linda Hesh
Put the I into Civic, 2016
High density urethane foam, paint, metal wheeled carts, stones, artificial grass
Donated by the artist

Linda Hesh is an artist who explores the relationship between the personal and political, identity and marginalization. Text and photography play a part in all her series, whether a public interactive piece or gallery work. She is very conscious of speaking to an audience, declaring private musings publicly to play with taboos or challenge social norms.

For this public interactive artwork, you are invited to stand in the space of the missing "i" in the C_vic sculpture to Put the I into Civic. This project asks you to consider what Civic means to you. What do you expect from your government? What do you appreciate? Civic Expectations or Treasures? What might be your contribution, your Civic Duty or Civic Pleasure?

Photographed portraits along with the participant's opinion about what Civic means to them will become part of www.reimaginecivic.com by posting with #reimaginecivic or by going to the website to upload images directly.

Linda Hesh stood by C_vic and asked people walking by if they'd like to be part of her artwork. She photographed them and captioned the portraits with what Civic means to them. See the gallery of 179 portraits & opinions

Linda Hesh
https://www.lindahesh.com/resume/resume.html

Stella Waitzkin

/

About Stella Waitzkin (1920-2003)

In 2021, the Kohler Foundation contributed pieces from Details of a Lost Library to George Mason University.

Early Life and Rebellion

Stella Waitzkin (1920–2003) was born in New York City to Austrian immigrant parents. Raised in affluence, her father's success in the lighting fixture business provided her with a privileged upbringing. Despite this, Stella rebelled against the conventional values of her parents, rejecting religious and social norms. Initially attending Alfred College, she found her true calling in acting, studying method acting with Bill Hickey. In 1942, while working at her father's company, Globe Lighting, Stella met and married Abe Waitzkin, a successful lighting salesman. They had two sons, Fred and Billy, and lived in Cambridge, Mass., and later in Great Neck, Long Island.

Bohemian Living and Artistic Exploration

Stella's artistic journey began in the 1950s when she studied painting with Hans Hofmann and life drawing with Willem de Kooning. Immersed in the bohemian scene of Greenwich Village, she created abstract expressionistic canvases and mingled with beat poets and jazz musicians. In 1959, rejecting suburban life, Stella moved to Riverdale and later to 27 West 9th Street, close to the Cedar Bar in Greenwich Village. A decade later, she settled in the Hotel Chelsea, where she delved into expressing social justice themes through sculpture, performance, and films. Her apartment, Room 403, became an artistic haven, hosting poets and painters. Stella's unique environment, filled with sculptures like "Details of a Lost Library" and the "Wreck of the UPS," reflected her abstract paintings.

Passionate and committed to her art, Stella worked tirelessly on sculptures, paintings, and drawings. Her Chelsea Hotel apartment and her house on Martha's Vineyard overflowed with her creations. In her later years, she frequented the Chilmark flea market, buying and selling objects for her sculptures.

untitled, n.d.
polyester resin, wood, and stone, 9" x 26" x 6.5"

untitled, n.d.
polyester resin and stone, 7" x 8.5" x 6.25"

untitled, n.d.
polyester resin, 7" x 5" x 2.5"

 

untitled (College Standard Dictionary), Date unknown (late 20th century)
polyester resin, 9.5' x 6.5" x 0.5"

Books as Freedom

Posthumously, Stella's work gained recognition in the art world more open to women artists. She was part of a 1970s movement treating modern books as art, and her unique approach to crafting books symbolizing freedom garnered attention. Stella's later focus on casting old, leather-bound volumes resulted in magnificent, translucent, and luminous sculptures. Her works have been exhibited globally and reside in prestigious collections, including the Museum of Modern Art and the Smithsonian.

 

Untitled (Small Bird on Book with Rock)
Date unknown (late 20th century)
6.5" x 9.5" x 5.5"
Polyester resin and stone

Stella Waitzkin's legacy extends beyond her artwork. After her death in 2003, a section of her Chelsea Hotel environment found a home at the John Michael Kohler Arts Center, and her recreated living room is now part of its collection. Her artistic contributions, from abstract expressionism to her exploration of books as art, continue to captivate audiences and contribute to the evolving narrative of women in the art world.

 

Researched by Soo Paek and Sophie Bae/ Mason Exhibitions

Salvador Dali

/

About Salvador Dali (1904-1989)

Salvador Dalí was an icon of Surrealism, the 20th-century avant-garde movement that sought to release unconscious creative potential through art that featured dreamlike imagery. Dalí’s fantastical prints, paintings, sculptures, films, and writing helped cement the movement’s identity. Working off psychoanalytic ideas, Dalí rendered fantastical creatures and landscapes that could unsettle and awe. His 1931 canvas The Persistence of Memory is one of the most recognizable artworks of all time. Dalí exhibited widely in his lifetime, and his works belong in the collections of institutions including the Tate, the Museum of Modern Art, and the Art Institute of Chicago, among others. His work has fetched multimillions of dollars on the secondary market.

Imagination and Objects of the Future Portfolio, 1975

This portfolio showcases Dali's imaginative prowess as he envisions future conveniences and luxuries. Rooted in thorough explorations of science, biology, and mathematics, these whimsical inventions reflect the artist's late-career focus on technological advancement, nuclear warfare, and contemplations about his own mortality and artistic legacy. The prints within the portfolio encapsulate many central themes and motifs present in Dali's extensive body of work.

Comprising 10 drypoint etchings combined with lithography, screenprint, and collage, this complete portfolio is a testament to Dali's mastery. Each print is signed in pencil and annotated "I-44/250." Additionally, the portfolio features six introductory pages presented on three folded sheets. The image sizes vary, with each sheet measuring 30 x 22 inches. This collection stands as a vivid representation of Dali's unique artistic vision and his exploration of profound themes in the twilight of his career.

Reference: “The Official Catalog of the Graphic Works of Salvador Dali” by Albert Field.
Ref. 75-11-B, pages 104. Published by The Salvador Dali Archives.

Salvador Dali's "Imagination and Objects of the Future" 1975, is a remarkable addition to the GMU collection, courtesy of the generous contribution by Mr. Joseph D. Serpico.

Our Historical Heritage, 1975

Our Historical Heritage is a portfolio that shows Dalí’s influence from religious themes. The portfolio, Our Historical Heritage, depicts events and historical figures from the Hebrew scriptures (The Torah or Old Testament), curated with the signature style only found in Dalí’s work. This series includes Noah’s Ark, Joseph, King Saul, and more. Each image showcases Dalí’s master draftsmanship.

King David, from Our Historical Heritage, 1975
Engraving with pochoir in colors on Japon paper, signed and numbered in pencil Edition 
26 × 19 7/8 in

“King David” by Salvador Dalí is a magnificent work of art, which highlights Dalí's skill and religious influence. The image portrays King David as an elder playing a large, beautiful harp. King David has bright blue eyes and long, curly grey hair.

Adam and Eve, from Our Historical Heritage, 1975
Color engraving
26 × 19 7/8 in

In the depiction of Adam and Eve from this series, Dalí presents Adam and Eve in the Garden of Eden at the moment they are tempted to eat the forbidden fruit from the tree of knowledge. In Dalí’s depiction of the historic biblical event, both figures reach simultaneously for the bright red apple, which hangs from a spindly tree branch while the sly serpent wrapped around the trunk looks on.

Joseph (Joseph hung by his brethren) (from Our historical heritage)
Color engraving
26 × 19 7/8 in

In Joseph (Hung By His Brethren), Dalí Has Boldly Attempted To Show The Moment The Brothers Of Joseph – All Sons Of The Iconic Jacob In The Line Of Abraham – Lower Their Brother Into A Well, Which Preceded Them Selling Him Into Slavery. The Eleven Brothers Were Jealous Of Joseph, Who Was Favored By Their Father, And This Led Them To Great Sin Against Their Brother And Their Father. These Twelve Sons (Including Joseph) Would Become The Foundation Of The Twelve Tribes Of Israel.

Dahlia rapax (Dahlias of Dalí) (From Surrealist Flowers Portfolio), 1972
Heliogravure and embossing on heavy Arches paper
29 2/5 × 21 7/10 in

The Salvador Dali Surrealist Flowers suite consists of 15 lithographs with an original engraving. Editions Graphiques Internationales published the suite in 1972. The paper is very heavy Arches. The etchings shown below are loose as issued. The justification is EA. Each sheet has the copyright notice on the back. The image size is 21 1/4″ x 14 1/2.” The full sheet size is 25 1/2″ x 19 1/4″.

L’aventure medicale, 1980

There are few more fascinating subjects in human history than man's efforts to cure the sick, heal the wounded, and nurse the ailing. Since men first walked the earth, they have sought to prolong life, with magic, natural remedies, and the resources of modern medicine. 

Therefore, the record of human achievements in the healing arts is astonishingly rich, documented throughout the history with murals, scuptures, drawings, and paintings from every imaginable place and period.  

Through Salvador Dali's extraordinary imagination, he reveals a surreal and personal vision of the physician and his role in medicine.  

LA LUTTE CONTRE LE MAL, "The Healing Light”, is a journey through the phenomena of mysticism. Symbolic in imagery, it reveals to us the very progress of medicine.  

We know him as the medicine man, the witch doctor, the sorcerer, or the modern day physician. By whatever title we call him, the healer will always be accorded a high place socially and professionally. Soon this century’s ideas and activities will be reviewed by the next century’s historians and scientists, and each period will take its turn being evaluated by its successors.  

We would do well to view today’s medicine as merely a bridge between the past and future.  

La lumiere de la guerison (The Dentist), 1980 
Lithograph on Arches
30 × 21 in

This title translates to "The Light of Healing", from Dalí's series "L'Aventure Medicale". In this work, the Dentist shines his bright light upon the subject in his chair, with his light of healing. 

The Doctor, 1980 
Materials Color Lithograph 
26 × 20 in

Elephant herd, 1977 
lithograph, 21 3/4 x 15 3/4 in.

 
 

Photo Credit: Sophie Bae / Mason Exhibitions
Researched by Soo Paek and Sophie Bae

Lila Pell Katzen

/

Lila Pell Katzen (1932 - 1998)

A sculpture by Lila Pell Katzen situated at Mason Pond has been on extended loan from the National Gallery of Art in Washington, D.C. since 1983.

ANTECEDENT, 1975, mild steel
Dimensions overall: 762 x 182.9 x 243.8 cm (300 x 72 x 96 in.) gross weight: 7500 lb.
Loaned by the National Gallery of Art Washington, D.C.

Title: Transferring the sculpture Untitled from the National Gallery of Art to George Mason University
Creator: Carl Zitzmann, George Mason University
Summary: Lila Katzen’s sculpture Untitled being placed onto a truck for transfer from the National Gallery of Art in Washington D.C. to George Mason University campus in Fairfax, VA.
Date created: January 21, 1983
Repository: George Mason University. Special Collections and Archives.
Finding aid: sca.gmu.edu/finding_aids/gmuphotos.html
Source: George Mason University photograph collection
Rights: Copyright held by George Mason University Libraries. Restricted to personal, non-commercial use only. For permission to publish, contact Special Collections & Archives, George Mason University Libraries.


About Lila Pell Katzen

Lila Katzen (1927–1998) was an American sculptor known for her large-scale, abstract metal sculptures. Born in New York City, Katzen studied at the Art Students League and later at the Académie de la Grande Chaumière in Paris. She was part of the post-World War II New York art scene, where she engaged with abstract expressionism and developed her distinctive sculptural style.

Katzen's work often features flowing, organic forms that evoke a sense of movement and energy. Her sculptures can be found in various public spaces, museums, and private collections. She gained recognition for her innovative use of materials, particularly welded steel, and her ability to create pieces that interact harmoniously with their surroundings.

Lila Katzen's artistic contributions have left a lasting impact on the world of sculpture, and her works continue to be celebrated for their dynamic and expressive qualities.

Photo Credit: Sophie Bae / Mason Exhibitions
Researched by Sophie Bae

Stephen Sacklarian

/

About Stephen Sacklarian (1899-1983)
Born Varna, Bulgaria 1899-died Norristown, PA 1983

Dr. Arthur Furman generously contributed Stephen Sacklarian's collection to the GMU collection. Notably, he acquired the artist's works directly from Sacklarian.

Stephen Sacklarian was born in 1899 in Varna, Bulgaria after Sacklarian’s parents fled from Turkey during the Armenian genocide in the late 1890s. The family emigrated to the United States in 1911 where they resided in Philadelphia. Before becoming an artist, Sacklerian spent the early part of his career as an ameteur boxer and a full-time as a sales engineer for General Electric.

Untitled (B-155), 1967 acrylic on canvas, 51" x 66"

Following his decision to pursue art as a career, he received comprehensive art training at the Pennsylvania Academy of Fine Art, the University of the Arts, the T Square Club-School for Architects, the Fleisher Memorial Art School, and, eventually, through private study under the guidance of sculptor Paul Manship.

From the 1930s to the late 1950s, Sacklarian initially embraced a realist style in his paintings. His early works, primarily focused on nude portraits, indoor still lifes, and nature, most of which were destroyed by the artist. During this period, Sacklarian remained relatively obscure in the art world, while searching for the abstract style that would later define his career.

It was during the 1960s, influenced by the burgeoning art movement in New York City, that Sacklarian's interest shifted towards abstraction. The adoption of acrylic paints ushered in a transformative period, offering a newfound palette for his exploration in color and form. This phase birthed Sacklarian's iconic abstract expressionist style, elevating him to recognition. Concurrently, the late 1950s and early 1960s saw him venture into wood sculpture, bearing the indelible marks of African Art—a chapter that were destroyed by the artist during the period of grief following the untimely death of his wife, Ayne.

Ayne Sacklarian, an artist herself and a muse for Sacklarian, died due to a medical error during minor surgery. This tragedy cast a shadow over Sacklarian's life, triggering a deep depression. In the throes of despair, he obliterated his studio and many of his artworks. His art temporarily fell silent as he navigated this dark period, only resuming his creative endeavors years later, a testament to his loving memories of his deceased wife.

In the late 1960s and 1970s, Sacklarian's works took on a vibrant and upbeat quality, reminiscent of his earlier abstract artworks. This period marked a return to his signature style, as he sought to recreate the ecstatic energy that Ayne had once inspired in him.

Sacklarian's paintings are characterized by biomorphic forms dominating the foreground against angular "room-like" backgrounds or dark color fields. Employing perspective and composition, he juxtaposed vivid biomorphic shapes with unidentifiable geometrics. Human and animal forms, along with abstract sexual organs, often hover in the foreground, creating dreamlike and sometimes humorously mischievous compositions. Sacklarian's palette varied, but he consistently favored bright, rich colors. Notably, he claimed to always possess the precise mental image of his finished works before their initial creation, emphasizing the connection between his imagination and the canvas.

On View

Krasnow Institute

Presented at Krasnow Institute (400 University Dr, Fairfax, VA 22030) in the Downstairs Hallway, Great Room 137, and Stairway.

Center for the Arts: Dr. Linda Apple Monson Grand Tier

 
 

Photo Credit: Sophie Bae / Mason Exhibitions
Researched by Soo Paek and Sophie Bae

Carroll Sockwell

/

About Carroll Sockwell (1943-1992)

Carrol Sockwell, born in 1943 amidst Washington's segregation, transcended a challenging youth through his artistic talents, nurtured and recognized by renowned art therapist Elinor Ulman. At the age of 17, he immersed himself in New York City's vibrant art scene, engaging with pioneers of Abstract Expressionism, Pop Art, Minimalism, and conceptualism. 

Upon his return to Washington in 1963, Sockwell became an integral part of the city's burgeoning art community. He curated at the historic Barnett-Aden Gallery, the inaugural African American art museum, and exhibited at the influential Jefferson Place Gallery. By the early 1970s, his work garnered acclaim from esteemed curators like Walter Hopps and Roy Slade, leading to exhibitions at prestigious venues such as the Corcoran Gallery of Art, Brooklyn Museum, and the Whitney Museum of American Art. 

Influenced by the Washington Color School, Sockwell skillfully harmonized geometric and gestural abstraction, expertly blending contrasting elements. His creations delved into personal and occasionally somber themes, encapsulating historically significant moments, evident in pieces like "Crisis of the Sixties" and "The Wrecking of the Berlin Wall." 

Despite the decline of abstract art in the 1980s, Sockwell persisted, drawing inspiration from icons like Francis Bacon and Marlene Dietrich, embodying resilience amidst challenges. His work, often navigating the shadows, mirrored his internal battles and triumphs. 

Enduring economic hardships, Sockwell continued to craft intensely personal art, showcasing his unwavering dedication to his craft. His journey, shaped by encounters with influential artists and a profound connection to the evolving art landscape, molded his unique vision, establishing him as a distinguished figure in the realm of abstract art. 

 

Check out our research

Carroll Sockwell: Grey Compositions

Founders Gallery @ Mason Square Campus, Arlington
August 12 - December 12, 2022

Buchanan Partners Gallery @ Hylton Performing Arts Center
October 12 – November 14, 2021

Exhibition Overview:
This exhibit features Sockwell’s suite of 6 large scale drawings titled Grey Compositions. The drawings feature a cacophony of black charcoal marks dancing over smoke-like expanses of grey and brown. Viewed together, the abstract works’ map-like graphic notations suggest an epic visual poem or musical score.  

 

Mason Collection 

The Mason Collection proudly houses a significant series by Carrol Sockwell, titled "Grey Compositions," generously donated by Mr. Ron Shapiro. This collection of six large-scale drawings features bold black charcoal marks intricately woven across expansive grey and brown backgrounds, creating a dance of contrasts. Viewed collectively, these abstract works transform into a visual poem or musical score, their intricate graphic notations resembling a map, capturing the essence of an epic artistic expression. 

This collection stands as a testament to the artistic brilliance of Carrol Sockwell, an African-American artist whose contributions have often been overlooked. George Mason University Art Collection is deeply honored to exhibit this impactful representation of Sockwell's innovative and under-recognized work, celebrating his profound artistic legacy. 

Researched by Soo Paek
Graduate Professional Assistant
Fenwick Library, Arts & Humanities Team
Provisions Research Center for Art and Social Change

African Art

/

Art from Africa embodies a rich tapestry of multifaceted expressions, deeply rooted in its diverse and multicultural heritage. Across its fifty-four countries and hundreds of ethnic groups, Africa resonates with a profound richness of culture. The Mason African collection delves into the material culture hailing from eight distinct African nations: Nigeria, Sierra Leone, Burkina Faso, Mali, Kenya, Tanzania, Côte d'Ivoire, and Liberia. Far from static or merely aesthetic, these artworks reveal their dynamic essence, having been crafted with purpose and intention.

Woman and Warrior: Many African societies place monumental importance on gender and initiation rites. This emphasis on gender is normally centered around the males of a society. However, women have important roles and rites of their own. Young women have dynamic relationships with the male Maasai warriors. This section explores the theme of women and warriors spanning from Maasai warriors, Mende Bundu Sowei masquerades, Ancient Mother deities of the Poro initiation cycle, all the way to Dogon ancestral altars commemorating deceased female family members.

Masquerades: Masquerades are prominent in many African cultures and are an insight into the values of these particular societies. Presently, scholars understand the importance of masquerades and attempt to preserve and understand the composition of these rituals. These ceremonies utilize the masquerade in order to commemorate occasions such as life, death, religion, and harvest. Each mask within this collection is handmade and serves a specific function within the masquerade performance.

Ceremonial: Ceremony and ritual are integral elements of African art. Ceremony covers a wide range of life events, from rites of passage to marriage, funerals, and seasonal changes, including cycles of the harvest and farming. Art serves a vital function in these ceremonies, as demonstrated by this selection of objects. These works showcase a vast variety of ceremonial use, from the dances utilizing the Chiwara headdress, masquerades set to the music of drums, and figures used atop shrines.

Sculptural Primacy : Sculpture is an essential element in African societies. Art is deeply woven into the fabric of social life and plays a vital role in connecting all members of the community. The sculptures of Africa are sophisticated, powerful, and dynamic. One of the formal elements of African sculpture is the concept of sculptural primacy. This means that most African art is meant to be viewed three-dimensionally and from all angles.