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Denes has worked on her pyramid series since 1970 and considers it ongoing. The artist began by studying Pascal’s triangle, a mathematical theory of probability, and found that when plotted on paper “the drawing reveals that the theory is a three-dimensional, spiraling number system that fits around a shell (shell mathematics) pointing to basic patterns unifying rational thought and nature.” [2] In When the Pyramid Awakens, the precise, clear hand of the artist creates an undeniably beautiful and elegant form, seen in three-quarters view, expanding step by step from a broad base at the bottom and ascending to a narrow point at the top. The left contour and the convergence point of the two sides at the center make graceful arcing curves, while the right edge is a straighter diagonal.
The title of this lithograph indicates its role in the larger pyramid series. As the artist explains, “All the Restless Pyramids are related and they are born When the Pyramids Awaken. Realizing they are organic forms, the pyramids lose their rigidity and stillness, begin to stretch and sway, as they break loose from the tyranny of being built, knitted into form. They proceed to unglue their units, the program and method that bind their cell structure. Once their elements are free, the Restless Pyramids become flexible to take on dynamic forms of their own choosing. At this point they decide to fend for themselves and create their own destiny.” [3]
Denes first realized this image in 1983 as a drawing, done in pencil on vellum, entitled When the Pyramid Awakens—Study for Environmental Sculpture. In printmaking, the artist generally draws by hand on the lithographic stone or plate. Although the pyramid is monochromatic, the choice of blue ink references graph paper and mathematical calculation, as well as architectural blueprints.
Notes:
[1] Judith E. Stein, and Ann-Sargent Wooster, “Making Their Mark” in Making Their Mark: Women Artist Move into the Mainstream, 1970–85, compiled by Randy Rosen and Catherine C. Brawer. Exhibition catalogue. Cincinnati Art Museum. (New York: Abbeville Press, 1989), 169.
[2] Agnes Denes, “Pyramid Series” in Agnes Denes. Exhibition catalogue. (Ithaca, NY: Herbert F. Johnson Museum of Art, Cornell University, 1992), 32.
[3] Denes, “Pyramid Series,” 35.
ProvenanceTo 2002
Robert C. Hobbs and Jean Crutchfield, Richmond, VA [1]
From 2002
Reynolda House Museum of American Art, Winston-Salem, NC, given by Robert C. Hobbs and Jean Crutchfield on December 27, 2002. [2]
Notes:
[1] Letter, December 9, 2001, object file.
[2] Letter, December 27, 2002, object file.
Exhibition History2008
New World Views: Gifts from Jean Crutchfield and Robert Hobbs
Reynolda House Museum of American Art, Winston-Salem, NC (5/20/2008-8/31/2008)
Published References
DepartmentAmerican Art
When the Pyramid Awakens
Artist
Agnes Denes
(born 1931)
Date1994
Mediumhand pulled lithograph in silver blue, metallic dusting
DimensionsFrame: 32 1/4 x 42 1/2 x 1 7/8 in. (81.9 x 108 x 4.8 cm)
Image (visible): 24 x 34 1/4 in. (61 x 87 cm)
SignedAgnes Denes ‘94
Credit LineGift of Jean Crutchfield and Robert Hobbs in honor of Salem Neff
Copyright© Agnes Denes
Object number2002.6.3
DescriptionThe intersection of art and science has been a foremost preoccupation of Agnes Denes, whose talent in this regard has been celebrated. “Giving concrete visual form to the theoretical concepts of mathematics is just one of the ways Agnes Denes has demonstrated her genius for orchestrating the synergy of art and science.” [1]Denes has worked on her pyramid series since 1970 and considers it ongoing. The artist began by studying Pascal’s triangle, a mathematical theory of probability, and found that when plotted on paper “the drawing reveals that the theory is a three-dimensional, spiraling number system that fits around a shell (shell mathematics) pointing to basic patterns unifying rational thought and nature.” [2] In When the Pyramid Awakens, the precise, clear hand of the artist creates an undeniably beautiful and elegant form, seen in three-quarters view, expanding step by step from a broad base at the bottom and ascending to a narrow point at the top. The left contour and the convergence point of the two sides at the center make graceful arcing curves, while the right edge is a straighter diagonal.
The title of this lithograph indicates its role in the larger pyramid series. As the artist explains, “All the Restless Pyramids are related and they are born When the Pyramids Awaken. Realizing they are organic forms, the pyramids lose their rigidity and stillness, begin to stretch and sway, as they break loose from the tyranny of being built, knitted into form. They proceed to unglue their units, the program and method that bind their cell structure. Once their elements are free, the Restless Pyramids become flexible to take on dynamic forms of their own choosing. At this point they decide to fend for themselves and create their own destiny.” [3]
Denes first realized this image in 1983 as a drawing, done in pencil on vellum, entitled When the Pyramid Awakens—Study for Environmental Sculpture. In printmaking, the artist generally draws by hand on the lithographic stone or plate. Although the pyramid is monochromatic, the choice of blue ink references graph paper and mathematical calculation, as well as architectural blueprints.
Notes:
[1] Judith E. Stein, and Ann-Sargent Wooster, “Making Their Mark” in Making Their Mark: Women Artist Move into the Mainstream, 1970–85, compiled by Randy Rosen and Catherine C. Brawer. Exhibition catalogue. Cincinnati Art Museum. (New York: Abbeville Press, 1989), 169.
[2] Agnes Denes, “Pyramid Series” in Agnes Denes. Exhibition catalogue. (Ithaca, NY: Herbert F. Johnson Museum of Art, Cornell University, 1992), 32.
[3] Denes, “Pyramid Series,” 35.
ProvenanceTo 2002
Robert C. Hobbs and Jean Crutchfield, Richmond, VA [1]
From 2002
Reynolda House Museum of American Art, Winston-Salem, NC, given by Robert C. Hobbs and Jean Crutchfield on December 27, 2002. [2]
Notes:
[1] Letter, December 9, 2001, object file.
[2] Letter, December 27, 2002, object file.
Exhibition History2008
New World Views: Gifts from Jean Crutchfield and Robert Hobbs
Reynolda House Museum of American Art, Winston-Salem, NC (5/20/2008-8/31/2008)
Published References
Status
Not on viewCollections
1931-1932