Geraniums

Fumio Yoshimura, American (born Japan), 1926 - 2002

Share

1997

Lindenwood

Overall: 32 1/2 × 28 1/4 × 28 3/4 in. (82.6 × 71.8 × 73 cm)

Overall: 33 3/4 in. (85.7 cm)

Hood Museum of Art, Dartmouth: Purchased through the Virginia and Preston T. Kelsey 1958 Fund; the Guernsey Center Moore 1904 Memorial Fund; the Phyllis and Bertram Geller 1937 Memorial Fund; the Katharine T. and Merrill G. Beede 1929 Fund; a gift from Adele Baron Marks in memory of David N. Marks, Class of 1930, with love; and a grant from the Richard Florsheim Art Fund

© Fumio Yoshimura

S.999.12

Geography

Place Made: United States, North America

Period

20th century

Object Name

Sculpture

Research Area

Sculpture

On view

Label

This meticulously carved wooden sculpture captures the essence of a potted geranium. Water no longer flows through the logged lindenwood. Dried and treated, the lindenwood functions as a vehicle for preserving the un-preservable: the fuzzy leaves and delicate flowers of a geranium. Yoshimura described his work as creating the “ghost” of an object, and the white, unfinished lindenwood gives his sculpture a decidedly ghostly pallor. Born in Japan, Fumio Yoshimura taught sculpture at Dartmouth from 1981 until 1993.

From the 2023 exhibition Liquidity: Art, Commodities, and Water, curated by Michael Hartman, Jonathan Little Cohen Associate Curator of American Art

Course History

WRIT 5, Expository Writing, William Craig, Winter 2014

First Year Student Enrichment Program - Cultures, Identities and Belongings, Francine A'Ness, Summer 2023

Anthropology 55.01, Anthropology of Global Health, Anne Sosin, Fall 2023

Anthropology 55.01, Anthropology of Global Health, Anne Sosin, Fall 2023

Art History 40.01, American Art and Identity, Mary Coffey, Fall 2023

Creative Writing 10.02, Writing and Reading Fiction, Katherine Crouch, Fall 2023

Geography 11.01, Qualitative Methods, Emma Colven, Fall 2023

Geography 2.01, Introduction to Human Geography, Coleen Fox, Fall 2023

Geography 31.01, Postcolonial Geographies, Erin Collins, Fall 2023

Exhibition History

A Space for Dialogue 1, Amelia Kahl, Class of 2001, Curatorial/Programming Assistant, Main Lobby, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, October 11-December 8, 2001.

In Residence: Contemporary Art at Dartmouth, Churchill P. Lathrop Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, January 18-July 6, 2014.

Liquidity: Art, Commodities, and Water, Israel Sack Gallery and the Rush Family Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, July 29, 2023-June 16, 2024.

Modern and Contemporary Art at Dartmouth: Highlights from the Hood Museum of Art, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, September 26,2009-March 15, 2010.

Publication History

Brian P. Kennedy and Emily Shubert Burke, Modern and Contemporary Art at Dartmouth: Highlights from the Hood Museum of Art, Hanover: Trustees of Dartmouth College, 2009, p.121, no.96.

Michael R. Taylor and Gerald Auten, In Residence: Contemporary Artists at Dartmouth, Hanover, New Hampshire: Trustees of Dartmouth College, 2013, ill. p. 94 , no. 83

Provenance

The artist, New York, New York; sold to present collection, 1999.

This record is part of an active database that includes information from historic documentation that may not have been recently reviewed. Information may be inaccurate or incomplete. We also acknowledge some language and imagery may be offensive, violent, or discriminatory. These records reflect the institution’s history or the views of artists or scholars, past and present. Our collections research is ongoing.

We welcome questions, feedback, and suggestions for improvement. Please contact us at: Hood.Collections@dartmouth.edu