LongHouse Reserve, East Hampton

[Top & detail] Mariyo Yagi. NAWA Axis for Peace, 2014. sunbrella fabric, sewing, stuffing, twisting. 396 x 48 x 48 in. (1005.84 x 121.92 x 121.92 cm) Collection of the artist. Location: Amphitheater 

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Photo Essay — in process — of Sculptures & Gardens at LongHouse Reserve by Jeff Heatley.

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 Presented in Alphabetical Order by Artist, with Random Landscape Views. 

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Enrique Celaya. The Invisible, 2015. bronze, in metal basin. 60 x 18 x 6 in. (152 x 46 x 15 cm) courtesy Jack Shainman Gallery. Location: Black Mirror.

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Willem De Kooning. Reclining Figure, 1969-1982. bronze. 67 in. x 130 in. x 96 in. (170.18 cm x 330.2 cm x 243.84 cm). Collection the Willem de Kooning Foundation. Location: de Kooning Place.

Marilyn Dintenfass, Almost Like The Blues, 2017. Vinyl, mesh and steel. Courtesy of the artist. 

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Eric Fischl. Tumbling Woman, 2002. Bronze, cast. 37 in. x 74 in. x 50 in. (93.98 cm x 187.96 cm x 127 cm) Collection of the artist. Location: South of Peter’s Pond.

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Buckminster Fuller. Fly’s Eye Dome, 1997. fiberglass. 336 in. x 396 in. x 396 in. (853.44 cm x 1005.84 cm x 1005.84 cm) Designed by Buckminster Fuller and produced by John Kuhtik, 1997. Location: Second Lawn.

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Bryan Hunt. Conductor II, 1982. bronze. 156 in. x 35 in. x 36 in. (396.24 cm x 88.9 cm x 91.44 cm) Collection of the artist. Location: Dunes.

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Sui Jianguo. Legacy Mantle (Mao Jacket), 2002. Cast iron. 117 5/8 x 97 3/16 x 57 5/8 in. (298.7 x 246.89 x 146.3 cm) Collection of Larry Warsh. Location: west of de Kooning Place.

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Jun Kaneko. Untitled, Dango. 122 x 56 x 34 in. (310 x 142 x 86 cm) Courtesy of the artist. Location: Sculpture Court.

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Grace Knowlton. Untitled (5 Round Forms) , 1985. 5 objects, steel, meshed wire, concrete, styrofoam, assembled. dimensions variable. Larsen Collection, promised gift to LongHouse Reserve. Location: First Lawn.

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Daniel Libeskind. Spirit House Chair, 2006. 14 gauge stainless steel. 35 1/2 in. x 46 1/2 in. x 46 1/2 in. (90.17 cm x 118.11 cm x 118.11 cm) LongHouse Reserve Collection, gift, Klaus Nienkämper, 2008. Location: Sculpture Court.

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Steve Miller. Glass, 2008. Inkjet on Glass and Steel. Collection of the artist. 

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Marko Remec. “Would That I Wish For (Tall totem)”. Mixed media. 252 x 24 x 24 in. (640 x 61 x 61 cm). Courtesy of the artist. Location: Grey Garden.

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George Rickey. 6 Lines in a T II, 1964-1979. Stainless steel 174 x 270 x 216 in. (442 x 686 x 549 cm). Collection George Rickey Foundation. Location: Peter’s Pond.

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Larry Rivers. “Legs”, 1969. Mixed media. 2304 x 1728 x 144 in. (5852 x 4389 x 366 cm) Courtesy of Larry Rivers foundation. Location: Kreye Canyon.

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Arthur Schade. Deschutes, 1982. Aluminum, cast. 144 in. x 94 in. x 38 in. (365.76 cm x 238.76 cm x 96.52 cm) LongHouse Reserve Collection, gift, Diane and Steven Jacobson, 2007. Location:. Stroll Garden.

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Judith Shea. Idol, 2011-12. Bronze, stainless steel, aluminum, cast. 77 in. x 36 in. x 36 in. (195.58 cm x 91.44 cm x 91.44 cm). Collection of the artist. Location:. David’s Walk

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Mariyo Yagi. NAWA Axis for Peace, 2014. sunbrella fabric, sewing, stuffing, twisting. 396 x 48 x 48 in. (1005.84 x 121.92 x 121.92 cm) Collection of the artist. Location: Amphitheater 

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Jack Lenor Larsen

1927 – 2020 

   

 A world-renowned weaver, designer, educator and visionary, Larsen’s powerful influence on mid-century Modern design was identified by his use of natural yarns, his appreciation of handmade objects, and his adoption of weaving methods drawn from world cultures, both ancient and avant-garde. These talents combined with a boundless intellectual curiosity and an unquenchable desire to be a part of the new are now the hallmarks by which LongHouse will be stamped forever. 

     He studied at the School of Architecture, University of Washington and earned a Master of Fine Arts from the Cranbrook Academy of Art in 1949. In the early 1950s, he opened his design studio, Jack Lenor Larsen, Inc., in New York City, which launched a career in textile design and manufacturing that was lifelong. Among his early important commissions were the design of lobby draperies for Skidmore, Owings & Merrill’s Lever House (1951-1952) and for interior textiles in Frank Lloyd Wright’s Taliesen West ( 1897 – 1959) and Fallingwater (1935-1964). 

     Larsen drew inspiration from weaving traditions throughout the world and manufactured fabrics in over 30 countries. Though he sold his business to Cowtan & Tout, he never fully retired and created his newest collection just last year (2019). Examples of his brilliance are canonized in the permanent collections of The Met and MoMA and he is one of few Americans to have had an exhibition at The Louvre. 

     It is at LongHouse that Larsen staked his claim for the ages. The mission of LongHouse is to exemplify and encourage living with art in all its forms. Celebrating the spirit of place and the land, the gardens are a constantly evolving work of art and feature changing exhibitions of outdoor sculpture. LongHouse has presented and values the work of such varied artists, composers, poets and thinkers as Ai Weiwei, Edward Albee, Laurie Anderson, Bill T. Jones, Cindy Sherman, Buckminster Fuller and Yoko One, among hundreds of others. With his passing, the ownership of the house and Larsen’s personal collection of crafts and ethnographic objects will be transferred to LongHouse Reserve, which is committed to maintaining Jack’s aesthetic philosophies while expanding the public presence of LongHouse as a public garden and house museum. Jack always said that LongHouse should “be relevant, not reverent.” 

— LongHouse Reserve  

Jack Lenor Larsen portrait courtesy of LongHouse Reserve.