The Jundt Art Museum presents Deep Dive: An Exploration of Images of Water from the Permanent Collection of the Jundt Art Museum. Featuring more than 30 pieces, all the artworks deal with an aspect of water. One of the five essential elements, according to Eastern philosophy, water constitutes everything in this world. In science, the inorganic substance composed of two hydrogen atoms and one oxygen atom allows for all lifeforms' existence. In literature, water represents various concepts like purity, fertility, energy, motion, renewal, metamorphosis, and transformation. This senior thesis exhibition has pieces from the 17th to the 21st centuries and contains works by notable artists like Glen E. Alps, Harold Balazs, Bernard Brussel-Smith, Ambrose Patterson, and John Wilson.
This virtual display presents the works in respective categories that embody some ways water plays into our lives in hopes that viewers will recognize the importance and beauty that water has in one's life.
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Need/Resource
Community
Transportation
Hubs
Life
Abstract
Reflection
Beauty
Calm
Chaos
Water as a need and resource
“Thousands have lived without love, not one without water.” - W. H. Auden
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Water makes up 60-75% of human body weight. A loss of just 4% of total body water leads to dehydration, and a loss of 15% could be fatal. On a biological level, water keeps your proteins and DNA working and in their correct shapes. It also helps transport nutrients in and out of cells. All living things need water, whether to drink (Cows, 1955) or to breathe. Bodies of water provide a home to an abundance of life that helps nourish people in the world (Eskimo Women Fishing, n.d. and Mackerel Seining, 1948). Fish, plants, and other creatures find their homes in water. The need for water becomes incredibly highlighted in its absence (Untitled, 1982). Life struggles to continue under these conditions.
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Water as a community
“Individually, we are one drop. Together, we are an ocean.” - Ryunosuke Satoro
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Water bodies have remained one of nature's gathering places, a location where all life types congregate to quench their thirst. Water acts as a focal point in many religions and cultures because of its importance in survival. Besides its necessity, water brings people together for numerous reasons. Hanging out on the beach (Beach Group, 1968), visiting an aquarium (The Aquarium, 1948), or fishing with a friend (A Nibble, 1886) all represent examples of how water can bring people together as a community.
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Water as transportation
“Being on a boat that's moving through the water, it's so clear. Everything falls into place in terms of what's important and what's not.” - James Taylor
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Feats like crossing an ocean or merely sailing down a calm river (Down by the Riverside, 2001) occur after water has provided the path. Water has allowed for migrations of a massive scale (Algonquin Migration I, 2002) and sailing expeditions to new worlds. On an economic scale, water has contributed to the boom and bust of industries (Mississippi River Boat, 1943) across the nation with the invention of maritime technologies. All forms of water-based transportation owe water some credit for creating the route to do so.
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Water as a hub
“The people got worse daily from the cold and the bad water, and they must all have perished if they had not discovered the port about the time they did.” - Alexander Forbes
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Maritime trade has been an important human activity throughout history. Many countries have experienced economic growth upon opening their borders and markets to foreign trade. This increased flow of knowledge, resources, goods, and services has led to the development of an integrated global economy. Ports and other maritime facilities have become places where these ships and vessels dock to load and discharge passengers and cargo (Faneuil Hall, From the Water, 1839). Often situated on a coast, these economic hubs for regions demonstrate how water can become the central point of communities (The Harbor, 1930). Ports have stood as a beacon of hope for weary travelers, a venue where commerce thrives, and a location to retrieve those lost at sea (Death Ship in Port, 1972).
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Water as life
“We forget that the water cycle and the life cycle are one.” - Jacques Yves Cousteau
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Considered Earth’s last unexplored frontier, water covers 70% of the planet and houses a variety of different and beautiful life forms (Aquarium, 1952). For example, an estimated 3,000 species of fish live in the Amazon River alone. The plants (Coral Growth, 1950), animals, and other organisms that live in the water all affect the planet's nature. A staple of biodiversity, water provides the domicile for aquatic animals (The Encounter, circa 1969) to live in and a congregation place for non-aquatic creatures (Silvana II, 2001).
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Water as abstract
"Abstract art is not the creation of another reality but the true vision of reality.” - Piet Mondrian
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Since the early 1900s, abstract art has formed a central core of modern art. Abstraction indicates a slight, partial, or complete departure from reality. With water as the background, art can take this element and produce variations (Lake Cle Elum, 2016). Abstract art can also carry a moral dimension where viewers experience virtues such as order, purity, and spirituality (Sea Wash, 1988). Another form of abstract art comes when an object, figure, or landscape, has been simplified or broken down into finite elements (Landscape C-B’, 1972). This simplification allows the viewer to take on a new perspective of the original inspiration.
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Water as a reflection
“The water in the stream may have changed many times, but the reflection of the moon and the stars remains the same.” – Rumi
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Often featured in literature, water serves as a place where people can reflect literally and figuratively. Sometimes water acts as a perfect mirror of reality (Broken Blue, 1984). Other times, it exhibits rippled distortions (Peche, 1970). Scientifically, still water allows people to see themselves unchanged due to its refraction index being different from air. Thus, water becomes a location of self-reflection and introspective meditation (By the Waters of Babylon, 1988). Reflections of water also provide a new perspective of the surrounding environment (Willy Pond, 1995).
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Water as beauty
“Beauty soaks reality as water fills a rag.” - Chet Raymo
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Colorless, featureless, and tasteless, water does not appear as a remarkable material. However, without it, none of us would survive and our world would perish. There lies beauty in that fact. Beauty exists in the repetitive ebbing and flowing of the ocean on a coast (Kynance Rocks, Cornwall, circa 1874). And beauty exists in a tranquil lagoon, hidden from civilization (Coconut Lagoon, Honolulu, circa 1917). From the traditional sunset landscape (Lake Landscape and Sunset, 2006) to a view out of a ferry in Washington (San Juan Islands, 2014), the pieces featured in this section highlight the beauty that water demonstrates.
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Water as calm
“The mind is like water, and it’s turbulent it’s difficult to see, when it’s calm, everything becomes clear” - Prasad Mahes
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Water has a dichotomy of being calm or chaotic. This section focuses on the former and more serene counterpart. Calm waters can function as important markers in people's lives. As mentioned before, this type of water allows for reflection of the environment (Moonlite on Blue Lake, 1991) and the viewer. It can also provide unobstructed views (Moon River, 1981) of the world or melt into the background and highlight other beauties (By the Pond, 1982). These works emphasize the stillness and peacefulness of water.
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Water as chaos
“Water is the driving force of all nature.” - Leonardo Da Vinci
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While water can promote calmness, it can also cause chaos. This section focuses on the latter. The biblical story of Noah's ark provides a prime example of water bringing about disarray. A battle setting (Zeeslagh der Noordt Hollanders, circa 1679), a cause of death in drownings, and a solemn downpour (Swallows in Rain, circa 1919), all examples of water bringing chaos. Powerful water can act as an energy source, like hydropower, and as a force of destruction, like tsunamis. Given enough time, water can wear away even the densest of stones (Owls Head Light - Maine Coast, n.d.). Because water can change phases (solid, liquid, and gas), this can bring about a disorder. Artists have made snow a subject since the 15th century. They have used it to evoke emotions like smallness, sublimity, and tranquility. Known for its beauty and forewarnings of winter, snow can cause structures to rot (First Snow, circa 1940) and freeze life around it.
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Contact
The following exhibition was created as a senior thesis project for Gonzaga's University Honors Program. The student in charge of curating the exhibit was Gabriel Carbajal. He graduated in the Spring of 2021 with a degree in Mechanical Engineering and a minor in Applied Mathematics. Additionally, he was also a student employee at the Jundt Art Museum. Along with the exhibition, Gabriel wrote a paper on artificial intelligence art and how it blurs the definition of what an artist is. A request of a PDF copy of the paper or exhibition as well as any questions or concerns can be sent to his email: gcarbajal@zagmail.gonzaga.edu.
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The Jundt Art Museum houses the University's growing permanent collection of almost 5,000 objects, and presents special, temporary art exhibitions. During the year, the museum exhibits works by local, regional, national, and international figures in many different media. It is currently open M - F from 10am - 4pm, by appointment. More information about the museum happenings can be found at their website: https://www.gonzaga.edu/student-life/arts-culture/jundt-art-museum
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Artist credit lines in order of appearance:​
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Antonio Frasconi (Uruguayan-American, 1919-2013); Cows, 1955; woodcut on paper; Jundt Art Museum, Gonzaga University; Gift of John Morey Maurice; 2017.23.12
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Henry Napartuk (Inuit, 1932-1985); Eskimo Women Fishing, n.d.; stonecut on paper; Jundt Art Museum, Gonzaga University; Gift of Karen Gendron; 2017.27.1
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Bernard Brussel-Smith (American, 1914-1989); Mackerel Seining, 1948; wood engraving on paper; Jundt Art Museum, Gonzaga University; University purchase; 1988.13
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Edward Cornachio (American, b.1930); Untitled, 1982; silver gelatin print on paper; Jundt Art Museum, Gonzaga University; Gift of the Artist; 1994.7.2
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Elliott Erwitt (American, b.1928); Beach Group/Sylt, West Germany, 1968; silver gelatin print on paper; Jundt Art Museum, Gonzaga University; Gift of Kermit Rudolf; 1988.15.11
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Gordon Hope Grant (American, 1875-1962); The Aquarium, 1948; lithograph on paper; Jundt Art Museum, Gonzaga University; Museum purchase; 1994.6
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William G, Miller (British, 1962.1.3); A Nibble, 1886; etching on paper; Jundt Art Museum, Gonzaga University; Transfer from the office of Fr. Louis St. Marie, S.J.; 1962.1.3
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John Wilson (American, 1922-2015); Down by the Riverside, 2001; etching on paper; Jundt Art Museum, Gonzaga University; Gift of J. Scott Patnode; 2019.5.35
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Jason Elliott Clark (American, b. 1967); Algonquin Migration I, 2002; sintra cut reduction on paper; Jundt Art Museum, Gonzaga University; Museum purchase with funds provided by the Fredrick & Genevieve Schlatter Endowed Print Fund; 2002.33A
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Edward Horace Nicholson (American 1901-1966); Mississippi River Boat, 1943; screenprint on paper; Jundt Art Museum, Gonzaga University; Museum purchase with funds provided by a grant from the Sahlin Foundation; 2006.27
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William Henry Bartlett (British, 1809-1845); Faneuil Hall, From the Water, 1839; hand-colored engraving on paper; Jundt Art Museum, Gonzaga University; Gift of Norman & Esther Bolker; 1995.22.7
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Emil Ganso (American, 1895-1941); The Harbor, 1930; woodcut on paper; Jundt Art Museum, Gonzaga University; Gift of Weyhe Gallery; 1992.43.4
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H. C. Westermann (American, 1922-1981); Death Ship in a Port, 1972; lithograph on paper; Jundt Art Museum, Gonzaga University; Gift of Kathleen Magnuson Sheppard; 2016.15.14
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Maria Frank Abrams (American, 1924-2013); Aquarium, 1952; crayon on board; Jundt Art Museum, Gonzaga University; Gift of the Artist; 2008.17.2
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Glen E. Alps (American, 1914-1966); Coral Growth, 1950; lithograph on paper; Jundt Art Museum, Gonzaga University; Gift of A. Fae Tegtman; 1999.18.113
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Harry Krug (American, b.1930); The Encounter, circa 1969; screenprint on paper; Jundt Art Museum, Gonzaga University; Gift of Art & Kristine Rossof; 1993.6
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Wesley Conrad Wehr (American, 1929-2004); Silvana II, 2001; offset lithograph on paper; Jundt Art Museum, Gonzaga University; Gift of the Artist; 2001.27
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Michael Stone (American b. 1945); Lake Cle Elum, 2016; archival digital print on paper; Jundt Art Museum, Gonzaga University; Gift of the Artist; 2017.18.1
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Edward Porter (Canadian, b. 1935); Sea Wash, 1988; wood engraving on paper; Jundt Art Museum, Gonzaga University; Museum purchase; 1988.10H
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Hodaka Yoshida (Japanese, 1926-1995); Landscape C-B', 1972; woodcut on paper; Jundt Art Museum, Gonzaga University; 1995.12
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Joe Price (American, b. 1935); Broken Blue, 1984; screenprint on paper; Jundt Art Museum, Gonzaga University; Gift of Joe Price & M. Lee Stone Fine Prints; 2012.5.2
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Terry Parmelee (American, b. 1929); Peche, 1970; screenprint on paper; Jundt Art Museum, Gonzaga University; Gift of Milton & Ingrid Rose; 2006.26.3
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Lila Oliver Asher (American b. 1921); By the Waters of Babylon, 1988; linoleum cut on paper; Jundt Art Museum, Gonzaga University; Gift of Milton & Ingrid Rose; 2000.16.17
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Ian Martin (American, b. 1945); Willy Pond, 1995; photogravure on paper; Jundt Art Museum, Gonzaga University; Museum purchase with funds provided by the Fredrick & Genevieve Schlatter Endowed Print Fund; 2003.16
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S. Bradshaw (British, 1840-1870); Kyanance Rocks, Cornwall, circa 1874; hand-colored engraving on paper; Jundt Art Museum, Gonzaga University; Gift of Dr. and Mrs. Paul A. Manoguerra; 2020.8.7
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Ambrose Patterson (American, 1877-1966); Coconut Lagoon, Honolulu, circa 1917; woodcut on paper; Jundt Art Museum, Gonzaga University; Gift of Joan Wahlman; 2007.41.5
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Tom Wakeley (American, b. 1959); Lake Landscape and Sunset, 2006; oil on board; Jundt Art Museum, Gonzaga University; Gift of R. Thomas Gardner & Dolores M. Gardner; 2014.5.23
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Robert von Sternberg (American, b. 1939); San Juan Islands, 2014; photograph on paper; Jundt Art Museum, Gonzaga University; Gift of the Artist; 2017.7.2
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Harold Balazs (American, 1928-2017); Moonlite on Blue Lake, 1991; screenprint on paper; Jundt Art Museum, Gonzaga University; Gift of Harold & Rosemary Balazs; 1994.8.2
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Tetsuro Sawada (Japanese, 1933-1998); Moon River, 1981; silkscreen on paper; Jundt Art Museum, Gonzaga University; Gift of Samuel & Rosemary Selinger; 2017.8.69
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Anne Breivik (Norwegian b. 1932); By the Pond, 1982; engraving on paper; Jundt Art Museum, Gonzaga University; Gift of Dr. Anne Baruch; 1999.11.2
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Jan Luyken (Dutch, 1649-1712); Zeeslagh der Noordt Hollanders tegens den Graef van Bossu, op den 11 en 12 van October in den Jaere 1573, De, circa 1679; etching on paper; Jundt Art Museum, Gonzaga University; Gift of Weyhe Gallery; 1995.22.70G
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Ito Sozan (Japanese, 1866-1919); Swallows in Rain, circa 1919; woodcut on paper; Jundt Art Museum, Gonzaga University; Gift of Edith Anderson Estate; 1985.12.4
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Carroll Thayer Berry (American, 1886-1978); Owls Head Light - Maine Coast, n.d.; wood engraving on paper; Jundt Art Museum, Gonzaga University; Gift of Ingrid R. Rose; 2011.2.8
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Jane Dunning Baldwin (American, 1908-1991); First Snow, circa 1940; pencil and wash on paper; Jundt Art Museum, Gonzaga University; Gift of Robert M. Farner; 2011.1.2