Appendix 4
ARTICLES ON WORLD ARCHITECTURE & EXHIBITION DESIGN
Vol. 1 THE SYMBOLISM OF LEONARDO DA VINCI
1964a Leonardo’s ‘Vitruvian Man’ & the Philosophy of the Golden Proportion
1964b Leonardo’s Neo-Platonic Geometry: A Study in Universal Symbolism
Vol. 2 ART NOUVEAU SYMBOLISM OF HORTA & GUIMARD
1965a Victor Horta’s Art Nouveau Symbolism [Columbia University paper]
1965b Hector Guimard’s Art Nouveau Objects in the MOMA Collection
1965c Installing Hector Guimard’s ‘Metro’ in MOMA’s Sculpture Garden
Vol.3 DRAWINGS BY MIES, CORBUSIER, & KAHN
1966a Mies van de Rohe Drawings [MOMA exhibition checklist]
1966b Corbusier Drawings at Columbia University: A Technical Report
[requested by J. M. Fitch]
1966c The Architecture of Louis I. Kahn [MOMA exhibition checklist]
Vol.4 CONTEMPORARY DESIGN & FUTURE DESIGN
1967a 2001: The Architecture of the Future [PBS TV Program]
1967b The Design Collection: Recent Acquisitions [MOMA press release]
Vol.5 CHESS SET DESIGN & SYMBOLISM
1967a The Architecture of Chess Set Design
1967b Chess Set Designs by Lanier Graham
1967c Chess Set: A Note by the Designer [MOMA brochure]
1967d Speaking of Chess: A Conversation with Marcel Duchamp
Vol.6 THE ICONOGRAPHY OF INFINITY
IN MODERN ARCHITECTURE
1968a Guimard, Symbolism, & the Architecture of the Infinite
GOLDEN CATHEDRAL by Hermann Finsterlin. 1955 (signed)
(Based on his original design of the 1920s)
Oil painting on board.
Collection: Canadian Center for Architecture, Montreal
Ex. Collection: Hermann Finsterlin
Gift of FLG & GKS, 1992
Cf. Franco Borsi, HERMANN FINSTERLIN, Firenze, 1969,
p. 200, color plate 28
1968b Finsterlin, Expressionism, & the Architecture of the Infinite
1968c Kiesler, Surrealism, & the Architecture of the Infinite
1968d Brancusi’s Temples & the Architecture of the Infinite
Vol.7 THE ENDLESS HOUSE: Then & Now
1969a From Kiesler to Urethane Foam
[Georgia Tech. lecture, Atlanta, 1969, invited by James Grady]
Vol.8 LECTURES ON THE SYMBOLISM OF GUIMARD
1969b Prose-to-Poetry: The Influence of Viollet-le-Duc on Guimard
[CAA paper, Washington, D.C., 1970, invited by Peter Selz]
1969c The Early Domestic Architecture of Hector Guimard
[Victorian Society lecture, New York,1969, invited by H. R. Hitchcock]
1969d Abstract Naturalism: The Art of Hector Guimard
[Museum lectures in San Francisco & Toronto, 1970]
HECTOR GUIMARD show at MoMA, 1970. Design by FLG.
HECTOR GUIMARD show at MoMA, 1970. Design by FLG.
HECTOR GUIMARD show at MoMA, 1970. Design by FLG.
Vol.9 ARCHITECTURAL REVIEWS
1970a The Guimard Show [The MOMA scrapbook of clippings]
1970b The Bauhaus Book [Review in PROGRESSIVE ARCHITECTURE]
NOTE: This was the first Guimard retrospective ever presented. The work involved locating the finest examples in the United States and France, negotiating a deal with French museum officials for loans, and in the design of the installation relating objects with architectural photographs. The exhibition was very well received and set a new attendance record for MoMA. FLG’s catalogue was the first book on Guimard. There would be many more.
It took about 5 years to gather the material from Europe and the United States and to negotiate a partnership with the Musée des Arts Décoratifs in Paris. The challenge of the chronological installation was to harmonize heavy objects with light drawings and architectural photographs.
~ GKS
Vol.10 SOLID LIGHT:
Symbolizing the Transcendent in the Rothko Chapel,
1971
Part 1.
The Paintings of Rothko
Part 2. The Sculpture of Newman
Vol.11 ARCHITECTURE WITHOUT ARCHITECTS
The MOMA Exhibition at the de Young Museum, San Francisco
1972
19th CENTURY FRENCH PAINTING,
Legion of Honor Museum, San Francisco, 1972. Design by FLG and Roy Basich
THREE CENTURIES OF FRENCH ART FROM THE NORTON SIMON COLLECTIONS,
Legion of Honor Museum, San Francisco, 1973. Design by FLG
1) 17th &18th century Gallery. 2) Rodin Gallery.
Vol.12 FRENCH ART, 1973
Part 1. 19th CENTURY FRENCH PAINTINGS, 1972
NOTE: This exhibition of 19th century paintings from the combined collections of the de Young & Legion of Honor museums was hung in a 19th century style. It was one of a series of exhibitions that combined the collections of the two museums. Others were American, Flemish, and British. These were "political" exhibitions designed to show the trustees and the general public some of the advantages of merging the two Old Master museums into one museum. A city-wide ballot eventually ratified the merger of the two museums that previously had competed into a single museum called The Fine Arts Museums of San Francisco.
~ GKS
Part 2. THREE CENTURIES OF FRENCH ART FROM THE NORTON SIMON COLLECTIONS, 1973
NOTE: Norton Simon had one of the finest French collections in private hands. This was the first public presentation of his French masterpieces as a group. FLG negotiated the loans, selected the works, designed the exhibition, and wrote the text of the catalogue. Each of the three galleries was designed in the spirit of the centuries being represented: 17th, 18th, 19th, & 20th centuries. The show was well received in California and Paris.
~ GKS
Vol.13 SPECTRAL SYMBOLISM, Part 1
1974 The Spectral Symbolism of the Tower of Babel
THE SPECTRAL PASSAGE by Aleksandra Kasuba, 1975.
NOTE: In 1970 when FLG became Chief Curator of the combined de Young & Legion of Honor Museums, these “Old Master” museums had decided it was not appropriate to continue to exhibit contemporary art. The Board had been made uncomfortable by a number of contemporary shows curated under the previous administration. The feeling was that such exhibitions would better be done by other museums such as in Berkeley and Oakland. FLG did not think this was a good policy, because the Bay Area was filled with such a large amount of dynamic art – art that deserved to be seen. He worked to slowly change this policy by mounting a series of small contemporary shows of very high quality. By 1974 the Board was willing to change the policy. FLG organized an exhibition called “THE RAINBOW SHOW” that would announce this dramatic policy change and celebrate the extraordinary creativity of the Bay Area. The plan was for all the art museums in the Bay Area to be part of the show, along with science museums, and whatever galleries wanted to participate from downtown galleries to community-based galleries. At the heart of the experience in the de Young Museum was “The Spectral Passage,” an architectural sculpture commissioned from Aleksandra Kasuba. People walked through 7 richly shaped and highly colored spaces in a spectral sequence, while hearing music that had been composed using sounds with frequencies harmonic with the frequencies of those colors. The show opened on the Spring Equinox 1975. The music for The Spectral Passage was arranged by Mark Burstein. He invited a number a Bay Area composers to improvise on the theme of the parallel frequencies between notes and colors which he wrote about in THE RAINBOW BOOK. An early visit to the studio of composer-painter Paul Kalbach confirmed that one could pick out which colors he was working with. Then Burstein selected similar feeling-tones from other composers who associated keys and modes with colors. Finally, he orchestrated elements from all these sources into the tapes that were heard inside each spatial module of The Spectral Passage.
~ GKS
Vol.14 SPECTRAL SYMBOLISM, Part 2
1975 Spectral Spaces: The Architectonical Sculpture
of Aleksandra Kasuba in The Rainbow Show
Vol.15 HISTORY OF SACRED ARCHITECTURE:
A Library of Study Guides from Sacred Visions: An Introduction to the Sacred Art of World Religions, aka A Survey of World Art & Architecture Part 1
[university reader]
1976a Tribalism
1976b Hinduism
1976c Buddhism
Vol.16 HISTORY OF SACRED ARCHITECTURE:
A Library of Study Guides from Sacred Visions: An Introduction to the Sacred Art of World Religions, aka A Survey of World Art & Architecture Part 2
[university reader]
1977a Islam
1977b Christianity
Vol.17 THE RENAISSANCE IN EUROPE, Part 1
Essays in THE AMERICAN ACADEMIC ENCYCLOPEDIA
1978a Alberti
1978b The Art & Architecture of the Renaissance in Europe
1978c Biographical Sketches [add artist’s names/coming later]
Vol.18 THE RENAISSANCE IN EUROPE, Part 2
1979 The Symbolism of the Double-Serpent
in the Art & Architecture of the Renaissance in Europe
Vol.19 ARTISTS-IN-RESIDENCE PROGRAMS IN THE U.S.
1980 A Planning Study for the GGNRA, National Park Service
Vol.20 THE ARCHITECTURE OF THE MARIN HEADLANDS ART CENTER
1981 Golden Gate National Recreation Center, National Park Service
Vol.21 ARTISTS-IN-NATURE
1982 Masterplan for the Marin Headlands Art Center, GGNRA
Vol.22 SEASONAL MARKINGS
1983 Season-Marking Earth Art from the Stone Age to the Present, Part 1
Vol.23 SEASONAL MARKINGS
1984 Season-Marking Earth Art from the Stone Age to the Present, Part 2
Vol.24 ARCHITECTURE & PHOTOGRAPHY, Part 1
1985 Constructivism
Vol.25 ARCHITECTURE & PHOTOGRAPHY, Part 2
1986 Sheeler
Vol.26 ARCHITECTURE & PHOTOGRAPHY, Part 3
1987 Shahn
Vol.27 ARCHITECTURE & PHOTOGRAPHY, Part 4
1988 Flowering Earth: Photographs of The Huntington Gardens
Vol.28 ARCHITECTURE & PHOTOGRAPHY, Part 5
1989 Lotus Ponds: Photographs of The Huntington Gardens
Vol.29 ARCHITECTURE & PHOTOGRAPHY, Part 6
1990 Silent Cities: Atget & the Modern Urban Landscape [NSM exhibition]
Vol.30 SACRED VISIONS: A Survey of World Art & Spiritual Symbolism
1991 Vol.1 Shamanism, Taoism, Hinduism, & Buddhism [university reader]
Vol.31 SACRED VISIONS: A Survey of World Art & Spiritual Symbolism
1992 Vol.2 Judaism, Islam, & Christianity [university reader]
Vol.32 HECTOR GUIMARD BIBLIOGRAPHY
1993 Additions since the MOMA Exhibition of 1970
GUIMARD: COLLOQUE INTERNATIONAL,
Musée d’Orsay, 1992
Vol.33 HECTOR GUIMARD ENCORE [Symposium Papers in Paris]
1994a Etudes sur Guimard: Passe et Avenir
1994b Guimard, Viollet-le-Duc, et Modernisme
NOTE: FLG was asked to present the first papers at this international conference because he had published the first book on Guimard. His two papers were published in French.
~ GKS
Vol.34 SOLIDITY & INFINITY
1995 The Symbolism of the Circle & Square in World Architecture
Vol.35 SOLIDITY & INFINITY
1995 The Symbolism of the Circle & Square in Modern Architecture
Vol.36 A LINEAGE OF LIGHT:
PAINTER-ARCHITECTS OF THE RENAISSANCE
1996 Alberti, Piero, Leonardo, Bramante, Raphael, & Romano
Vol.37 CHRISTOPHER WREN & THE FOUR ELEMENTS:
1996 Traditional Symbolism in Protestant Church Steeples
Vol.38 ARCHITECTURAL PROPORTIONS
1997 A Study Guide
Vol.39 THE GOLDEN PROPORTION
1998 A Study Guide
THE SPONTANEOUS GESTURE:
PRINTS & BOOKS OF THE ABSTRACT EXPRESSIONIST ERA,
National Gallery of Australia, Canberra, 1987
Design by FLG. 1) Title Wall. 2) De Kooning Wall
NOTE: THE SPONTANEOUS GESTURE was the first comprehensive exhibition of this subject. Graham’s book of the same title remains a standard reference. IMPOSSIBLE REALITIES connected Duchamp, formally and philosophically, with a large number of his associates in the Surrealist Circle. By popular demand the Simon Museum extended the show for a year. That was FLG’s last project at the Simon Museum.
~ GKS
IMPOSSIBLE REALITIES: MARCEL DUCHAMP & THE SURREALIST TRADITION,
Norton Simon Museum, Pasadena, 1991. Design by FLG
1) Sculpture Gallery
IMPOSSIBLE REALITIES: MARCEL DUCHAMP & THE SURREALIST TRADITION, Norton Simon Museum, Pasadena, 1991. Design by FLG.
2) Duchamp Drawers
Vol.40 MUSEUM EXHIBITIONS
in Canberra, Australia & Pasadena, California
2000 A Portfolio of Photographs
Warhol Wall of Electric Chairs,
University Art Gallery CSUEB, 2000. Design by FLG
Vol.41 ANDY WARHOL & SOCIAL CONSCIOUSNESS:
ANOTHER SIDE OF POP ART,
2000
NOTE: This was the first exhibition to focus on this aspect of Warhol’s work. Because FLG knew Warhol, he could articulate the lesser known side of a person who secretly fed the poor often and went to church regularly. The publicity was extensive, including two articles on front pages of the OAKLAND TRIBUNE.
~ GKS
The Lion's Roar: Tibetan Thangkas,
University Art Gallery CSUEB, 2001
Design by FLG
in collaboration with Mark Levy and Master YeYoung
The Lion's Roar: Tibetan Thangkas,
University Art Gallery CSUEB, 2001
Design by FLG
in collaboration with Mark Levy and Master YeYoung
Vol.42 THE LION'S ROAR: TIBETAN THANGKAS FROM THE SAKYAS, 2000
NOTE: While there had been numerous shows of Tibetan thangkas in the United States, this was the first to present the Sakya tradition. The show later traveled to the Cantor Art Center at Stanford University.
~ GKS
NOTE:In this installation, the so-called "positive energy" thangkas were on one wall and the so-called "negative energy" thangkas were on the opposite wall. In between was an architectural corridor of empty space leading to an altar, an altar designed by Master YeYoung of the Sakya Order. This empty corridor ("between opposites") was designed to suggest the experience of the sushumna. In the esoteric Tantric traditions of both Buddhism and Hinduism, the sushumna is the vertical channel of subtle energy that parallels the spinal chord. It serves as a connection between the lower chakras (energy centers, or levels of consciousness) and the higher chakras (energy centers, or levels of consciousness). When properly activated, the Kundalini energy ascends up the sushumna (between the positive Solar polarity and the negative Lunar polarity) activating all the energy centers. This makes possible a superior level of awareness, and ultimately the full potential of an individual's humanity. Such information was kept quite secret for centuries until the "New Age" of the 1960s & '70s when many silly books on the subject began to appear. In spite of what popular books may say, it is not useful (and is potentially dangerous) to undertake Kundalini meditations without the guidance of an advanced meditation master.
~ FLG
MARCEL DUCHAMP: ARTIST-HUMORIST-PHILOSOPHER
University Art Gallery CSUEB, 2001. Design by FLG
Vol.43 MARCEL DUCHAMP: ARTIST-HUMORIST-PHILOSOPHER, 2001
NOTE: The first Duchamp retrospective took place in Pasadena California in 1963. FLG’s first Duchamp exhibition also took place in Pasadena in 1991 using much of the same material. FLG’s Duchamp show of 2001 in Hayward was the first to focus on the theme of Androgyny as central to the artist’s work. FLG’s book, DUCHAMP & ANDROGYNY: ART, GENDER, AND METAPHYSICS remains the standard reference.
~ GKS
NOTE for this image: This is the brush used by Susuki Roshi to make the world’s most famous enso in 1966. It was lent to the exhibition by Yvonne Rand who witnessed the brushing at Zen Center’s Tassajara Springs retreat near San Francisco.
~ GKS
ZEN & MODERN ART:
ECHOES OF BUDDHISM IN PAINTINGS & PRINTS,
Introductory Gallery. University Art Gallery CSUEB, 2002
Design by FLG
Vol.44 2003 ZEN & MODERN ART: ECHOES OF BUDDHISM IN PAINTINGS & PRINTS
NOTE: This was the first exhibition to focus on this aspect of Buddhism & modern art. There was a great deal of publicity locally and nationally. FLG’s book on the subject is in progress.
~ GKS
For a video of Tanahashi painting a giant enso at the opening of the exhibition, CLICK [http://class.csueastbay.edu/artgallery/zen%5Fpublic/]
Miniature Museum of World Art, with plexiglass walls (detail)
University Art Gallery, CSUEB, 2004-2010
Design by FLG as a concept model for the World History Learning Center
Miniature Museum of World Art, with plexiglass walls (detail)
University Art Gallery, CSUEB, 2004-2010
Design by FLG as a concept model for the World History Learning Center
Vol.45 2004 A MINIATURE MUSEUM OF WORLD ART in the University Art Gallery
THE SPIRIT OF THE RENAISSANCE,
University Art Gallery CSUEB, 2007
Design by FLG as a full-scale model for a "period room"
in the World History Learning Center
Vol.46 2005 WORLD HISTORY LEARNING CENTER, Plan #1, A Classroom in the Art & Education Building
TIBETAN WALL in Global Vision, Part 1, 2006
Design by FLG with Philip & Jill Ringler
Click here for enlarged view of Tibetan Shrine
THAI WALL in Global Vision, Part 1, 2006
Design by FLG with Philip & Jill Ringler
Vol.47 2006 GLOBAL VISION: A Survey of World Art, Part 1
Vol.48 2007 WORLD HISTORY LEARNING CENTER, Plan #2, Mezzanine Wing of the Library
CHINA WALL in Global Vision, Part 2, 2008
Design by FLG with Philip & Jill Ringler
Vol.49 2008 GLOBAL VISION: A Survey of World Art, Part 2
Vol.50 2009 SPIRITUAL VESSELS

Preliminary Plan, Humanities Wing, 2011
Featuring Art Donated by IAD
click here for larger image of the above floorplan
Preliminary Plan, Humanities Wing, 2011
Featuring Art Donated by IAD
click here for a large version of above model
WORLD HISTORY LEARNING CENTER
Model #3
by Daniel Charm,
Museum Studies intern at CSUEB, 2010
Photograph by Daniel Charm
Vol.51 2010 WORLD HISTORY LEARNING CENTER, Plan #3,
Reference Wing of the Library
with a Scale Model of the Center
Featuring Art Donated by IAD
Vol.52 2011 TRIBAL WORLD CLASSROOM-GALLERY
Featuring Art Donated by IAD
Design by Daniel Charm & FLG. Photos by Daniel Charm
Click here for entire "Traditions of the Modern World" brochure in PDF format
Early Renaissance Walls with books illustrated by Durer and Botticelli
Early Renaissance Walls with books illustrated by Durer and Botticelli
The Leonardo Corner, showing him as Artist and Scientist, and Book Illustrator
Baroque & 19th Century Wall with books by Blake and Manet
Early 20th Century Wall with books by Matisse and Miro
Late 20th Century Wall, an Interactive Corner,
where students arrange their own picture of history
Vol.53 2011 MODERN WORLD CLASSROOM-GALLERY
Featuring Art Donated by IAD
Design by FLG & Daniel Charm. Photos by Richard Apple
Click here for a closer view of floorplan as a PDF file
Vol.54 2011 WORLD HISTORY LEARNING CENTER, Plan #4,
Biella Wing of the Library with a Scale Model of the Center
Featuring Art Donated by IAD
Click here for full Prospectus for the World History Learning Center