The Denning House Collection
The arts are intended to be an integral component of the Knight-Hennessy Scholars program, strengthening the scholars’ ability to lead across disciplines and cultures. Works of art displayed outside and throughout the building enable scholars to engage with artworks by significant global artists who are poised to make an impact in the arts, in the same way that scholars will make an impact in their respective fields. These innovative and distinctive artists are invited to spend time at Denning House in fellowship with scholars.
Wolf 359 c/M+M, 2019
Powder-coated stainless steel, polyester rope, monofilament fishing line, metal wire, mirror panels
Installed August 2019
Informed by the worlds of art, architecture, natural sciences and engineering, Tomás Saraceno’s floating sculptures and interactive installations propose new, sustainable ways of inhabiting the environment. Embodying one of the core concepts in Saraceno's work, Wolf 359 c/M+M from the Connectome series, presents a model of life floating in space and suggests an architectural vision of the future. Suspended from the ceiling as if a luminous cloud or a collection of beautiful bubbles, the complex geometric shape of the modules are derived from the artist's continued experimentation with a structure termed the "Weaire-Phelan Model," which describes an idealized mathematical geometry of foam. The mesmerizing visual quality of the sculpture results from the reflectivity of the metal panels that alter and re-present the surrounding architecture and inhabitants of Denning House.
The piece is displayed on the second floor of Denning House, at the top of the stairs.
You can read more about Tomás Saraceno's work here:
- With Spiders and Space Dust, Tomás Saraceno Takes Off - NY Times
- Interview on Aero(s)cene at the Venice Art Biennale - Design Boom
- Tomás Saraceno on capitalism, meditation and spiders - Financial Times
- Watch Tomás Saraceno discuss his installation at SFMOMA - SFMOMA (video)
Arm Peace, 2018
Installed June 2019
One of the central themes in Nick Cave’s practice is the body, often black male body, transformed through performance or sculpture. In the recent series Arm Peace, garlands of metal tole flowers are draped from bronze castings of the artist’s own forearm and torso. Cave’s sculptural practice can often be understood in dialogue with the gun violence found both within and against the African American community. Arm Peace serves as both a memorial for those the community has lost and an open-handed peace offering, a reminder of the potential for hope and renewal. Cave encourages a profound and compassionate analysis of violence and its effects as the path towards an ultimate metamorphosis.
The piece is displayed on the second floor of Denning House, at the top of the stairs by the classroom.
Ursula von Rydingsvard
Installed September 2018
Ursula von Rydingsvard’s large-scale abstract work refers to objects in the real world. Her textured, faceted surfaces reveal both traces of the human hand and natural forms and forces. Her art is represented in the permanent collections of over 30 museums, and is on view in multiple public locations across the country. Her sculpture MOCNA is located outdoors on the north side of Denning House, and is on view to the public.
Matterhorn (How to See Like a Machine) Brute-Force Descriptor Matcher; Scale Invariant Feature Transform,2016
Lake Tenaya Maximally Stable Extremal, 2016
Installed September 2018
Denning House has acquired two works by the artist Trevor Paglen: the three-piece series Matterhorn (How to See Like a Machine) Brute-Force Descriptor Matcher; Scale Invariant Feature Transform, (2016); and Lake Tenaya Maximally Stable Extremal, (2016). These dye sublimation prints consider the ways that machines understand images, and the gap between recognition and understanding. They are displayed on both floors of Denning House.