Jane Davis Doggett

The Elliott Museum

Albers & Heirs: Joseph Albers/Neil Welliver/Jane Davis Doggett

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Eliott Museum sculpture
Sculpture installed outside of Elliott Museum, Let Your Mind
, by Peter Freudenberg
Eliott Museum Logo by Jane David Doggett
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The Elliott Museum's third exhibition celebrates Joseph Albers' extensive contribution as an artist and educator. A number of Albers' art works are displayed, as well as the art of two of his students: Neil Wellliver and Jane Davis Doggett. Welliver and Doggett mastered Albers' discipline of the interaction of color, and made it, in various ways, central to their work.
Jane Davis Doggett with Liberty

View YouTube video of Exhibition from artdaily.org http://www.youtube.com/watch?v=MHQl1XoEKjA

Jane Davis Doggett, art demonstrates her bold use of color
and geometric shapes that has characterized her outstanding
career as a pioneer in the field of environmental graphics, most
notable for creating wayfinding signs and graphics systems for
major international airports worldwide. 20 million airport passengers
a year are guided by her designs. In her recent art work, she has
tapped roots from her MFA training at the Yale School of Art &
Architecture, where she was a student of Josef Albers and Neil
Welliver. She credits these titans as having brought "shape, color
and vision" to her work.

Working in Adobe Vector on the computer, her original hand
drawings are scanned in detailed forms that are layered and
over-layered, a process she calls "electronic silk screening." Her
architectural design background has stimulated exploration in
the interaction of three dimensions from two dimensions.

Sculpture by Jane Davis Doggett

There is a season from Ecclesiastes, Chapter III, Verses 1-8
Wall-mounted, joined acrylic panels clad in vinyl image wraps: 24" H x 32' W

Doggett's sculpture consists of two stacked rows of tetrahedrons flush-mounted to gallery wall. Tetrahedrons are comprised of joined acrylic panels clad in vinyl image wraps which display geometric forms and colors expressing a well-known Bible passage which begins with: "To everything there is a season, and a time to every purpose under the heaven." Each image is displayed in sequence on an angled plane with a mirror panel abutting at 90 degrees on which the corresponding verse is etched. The panels are displayed in two rows of 16 tetrahedrons on each row, which are read in reverse order: in the top row, image panels are angled so that they can be read by a viewer approaching from left to right; in the bottom row, so that they can be read by a viewer approaching from right to left.

The interaction of the image panels in mirror reflections are seen by people moving through the gallery in a kind of kaleidoscopic sequence of forms and colors in an ever-changing interaction, recalling the "contrasting constructions" that Josef Albers experimented with in his studies of three dimensions from two dimensions.

(The art work may also suggest Pete Seeger's "Turn! Turn! Turn!" in his song expressing There is a season, which was popular in the late 1950's, at the time that Jane Doggett was Albers' student at Yale.)

Homage to Galileo

Joined acrylic panels clad in vinyl image wraps
Each object is based on 36 cubic inches

Philosophy is written in this grand book — I mean the universe — which stands
continually open to our gaze, but it cannot be understood unless one first learns to
comprehend the language and interpret the characters in which it is written. It is
written in the language of mathematics, and its characters are triangles, circles,
and other geometrical figures, without which it is humanly impossible to understand
a single word of it; without these, one is wandering about in a dark labyrinth.

Galileo, 1564-1642

House of the Lord from the 23rd Psalm

Wall-mounted, framed box clad in vinyl image wraps:
24"H x 24"W x 24"D.

The art work at right is the last component in a 12-piece sculpture
that expresses the 23rd Psalm. The original sculpture was acquired
by the Yale University Art Gallery in their permanent collection
and is installed in the Saint Thomas More Center at Yale.

Iconochrome Images®

Geometric Panels


Albers & Heirs

Josef Albers, (1888-1976), one of the twentieth century's
most influential artists and art educators, was fascinated
with color and its innate ability to create optical effects.
Albers studied the interaction of color in combination,
and in competition — how color could complement
and confound. In his paintings and through his time as
head of Yale University's School of Art, he challenged
students to see and dissect the mechanics of color. He
became a master of teaching and painting in which
he established many of what are now considered the
basic laws of color usage in art and design: the use
of negative space, the effect of after-image, depth
perception, form through color, and the optics of color.

Neil Welliver, (1929-2005), a modern artist known
for large scale landscape paintings, used color boldly
in his work. Through the density of color and his use of
paint on top of paint he created dimension. Often
spending days by himself in the wild, Welliver used
unspoiled wilderness as his primary subject matter.
He often focused on capturing light and landscape
through color intensity and density. In his paintings,
Wellliver makes color "behave," an Albers term, to express
season and weather. Most importantly, he mastered
a new way of communicating depth in painting.

In Albers & Heirs: Josef Albers, Neil Welliver, and Jane Davis Doggett, the Elliott Museum will continue its commitment to combine traditional museum experiences with interactive learning. Throughout the exhibit, visitors may take part in hands-on color experiments, enabling them to create their own color palettes, to experience color-blindness, and ultimately, how colors combine and interact — inviting the participant to experience color as never before.