BGuthrie Photos: DC -- Donald W. Reynolds Center (NPG) -- Exhibit: One Life: Maya Lin

DC -- Donald W. Reynolds Center (NPG) -- Exhibit: One Life: Maya Lin:

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Description of Pictures: One Life: Maya Lin
September 30, 2022 – April 16, 2023
One Life: Maya Lin is the first biographical exhibition of the architect, sculptor, and environmentalist. Lin, who catapulted to global prominence in 1982 for her design of the Vietnam Veterans’ Memorial, has spent more than four decades making work that centers on history and human rights with a particular focus on how we experience and relate to landscape. Lin describes her practice as “a systematic ordering of the land that is tied to history, time and language.” The exhibition traces Lin from her childhood to today, presenting a range of photographs, sculptures, personal ephemera, sketchbooks, architectural models, and images of her completed works. Also on view is an element of Lin’s project “What Is Missing?” which addresses the biodiversity crisis by inviting viewers to use a multimedia platform to share memories of natural elements that have vanished during their lifetimes.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. MAYA_221014_005.JPG: One Life Maya Lin
2. MAYA_221014_011.JPG: One Life: Maya Lin September 30, 2022 - April 16, 2023 "I feel I exist on the boundaries, somewhere between science and art, art and architecture, public and private, East and West. I am always trying to find a balance between these opposing forces, the place where opposites meet." -- Maya Ying Lin Born to Chinese immigrant parents in 1959, Maya Lin grew up amidst the streams, woods, sandstone cliffs, carpets of moss, and wildlife of rural Ohio. “Looking back, I realize I led a very insulated and isolated childhood,” she recalls. Her mother and father were professors, and she credits them with cultivating her creativity and intellectual curiosity. For Lin, “Each project becomes a way for me to learn about a new field, whether it is aerospace engineering, the study of light, or the history of civil rights.” In 1981, after her design for the Vietnam Veterans Memorial was selected from 1,421 entries, Lin was unwittingly thrust into the limelight. Four decades later, she remains one of the most influential artists and architects of our time. Best known for her large-scale, site-specific installations, architectural works, and memorials, Lin also creates intimate studio artworks. The common thread, she notes, is “the love and respect I have for the natural world.”
3. MAYA_221014_016.JPG: Maya Lin working on Civil Rights Memorial Adam Stoltman (born 1960) Reproduction of photograph from 1989 Courtesy of Adam Stoltman
4. MAYA_221014_018.JPG: 1998 Sketch for Il Cortile Mare Maya Lin (born 1959) Ink on paper, 1998 Courtesy of Maya Lin Maya Lin created a temporary installation in the center court of the American Academy in Rome in 1998, when she was a fellow there. This sketch shows her concept for shaping gravel into waves. She envisioned each wave as formed by the volume of gravel contained in a local wheelbarrow. The installation is connected to Lin’s larger series exploring the “formal and experiential qualities of ocean wave formations.”
5. MAYA_221014_024.JPG: 1987 Concept sketch for Civil Rights Memorial Maya Lin (born 1959) Ink on paper, 1987 Courtesy of Maya Lin Studio Maya Lin’s hundreds of notebooks and sketchbooks reveal the way her projects come to fruition. She completed this sketch for her Civil Rights Memorial, which the Southern Poverty Law Center supported. “Unlike the response I got in Washington, the Center was completely open . . . allowing me to arrive at my own idea of what the memorial should be.”
6. MAYA_221014_028.JPG: 2017 Maquette for Neilson Library Maya Ying Lin (born 1959) Paper, 2017 Courtesy of Maya Lin Studio This three-dimensional drawing for the redesign of the Neilson Library reveals how Maya Lin first imagined bringing light into the building. She considered the surrounding Smith College campus, designed by Frederick Law Olmstead (1822–1903), and set two “jewel boxes” on either side of the original building to offer views of the landscape from all sides.
7. MAYA_221014_032.JPG: 2010 Model for A Fold in the Field Maya Lin (born 1959) Board, paper, and metal, 2010 Courtesy of Maya Lin Studio A Fold in the Field (2013) is Maya Lin’s largest earthwork to date. Located in Gibbs Park, along the coast of New Zealand’s North Island, it was originally conceived with a simple piece of paper. Lin rolled the sheet “to create a repetitive, continuously folded form,” which we see here.
8. MAYA_221014_034.JPG: 1993 Maya Lin working on Eclipsed Time Adam Stoltman (1960) Reproduction of photograph from c. 1993–94 Courtesy of Adam Stoltman
9. MAYA_221014_039.JPG: 1993 Maya Lin working on Groundswell Darnell Lautt (born 1950) Reproduction of photograph from 1993 Courtesy of Maya Lin Studio
10. MAYA_221014_042.JPG: 2016 Maya Lin receiving the Presidential Medal of Freedom from President Barack Obama Chip Somodevilla (b. 1972) Reproduction of photograph from 2016 Courtesy of Maya Lin Studio In 2016, President Barack Obama awarded Maya Lin the Presidential Medal of Freedom. As the president praised Lin’s artwork and architecture responding to human rights, civil rights, and environmentalism, he also highlighted her first major project and its continued relevance and resonance
11. MAYA_221014_045.JPG: 2013 Maya Lin and family with Mayor Bloomberg at the opening of “Maya Lin: Here and There” at Pace Gallery Madison McGaw (born 1986) Reproduction of photograph from 2013 Courtesy of Maya Lin Studio Maya Lin, her late husband (photo historian, dealer, film producer, and collector Daniel Wolf, 1955–2021), and their two daughters, Rachel and India, have long been active in the community of their hometown, New York City. Mayor Bloomberg has honored Lin on multiple occasions and praised her for her activism in the fight against climate change.
12. MAYA_221014_052.JPG: 2013 Maya Lin working on Pin River – Hudson Chester Higgins Jr. (born 1946) Reproduction of photograph from 2013 Courtesy of Chester Higgins Jr. / The New York Times / Redux
13. MAYA_221014_057.JPG: 2014 Maya Lin 1:5 Karin Sander (born 1957) 3D color scan of the living person, polychrome 3D inkjet print, plaster material, color, pigment ink, 2014 National Portrait Gallery, Smithsonian Institution; acquired though the generosity of the Academy of Achievement / Wayne and Catherine Reynolds; 2015 Portrait of a Nation Prize Recipient This diminutive statue reflects Maya Lin’s sense of herself as a small part of a global environment. Like so many of Lin’s own designs, the unconventionality of the portrait prompts us to look closely. Viewers are invited to reevaluate how they see—and how they approach—the familiar subject.
14. MAYA_221014_062.JPG: Neilson Library, Smith College, Northampton, Massachusetts “You rarely get to bring it home in architecture,” Maya Lin observed soon after the Neilson Library at Smith College reopened its doors in 2021. For Lin, whose mother graduated from Smith in 1951, having the opportunity to redesign the library felt highly personal. And for those familiar with the historic 1903 building, the new light-filled interior brought a welcome change. Lin needed to address the repercussions of earlier renovations, which had weakened the sense of visual and functional cohesion inside the library. At the same time, she sought to create a dialogue between the old and the new. “By preserving the original, historic Neilson foundations and exterior, the new library retains the memory of the original structure,” she said. But the interior “speaks to the needs of students today—with more room for collaborating and socializing . . . you’ll know that you are in a house of books.” Nic Lehoux (born 1968) Reproductions of photographs from 2021
15. MAYA_221014_073.JPG: Ghost Forest, Madison Square Park Conservancy, New York When Maya Lin visited the New Jersey Pine Barrens with forester Bob Williams, she was haunted by the scores of Atlantic white cedars that had been killed by climate change. She learned that saltwater inundation, from storm surges and rising sea levels, had been causing “ghost forests” and felt compelled to focus on these ravaged trees in her next public artwork. Ghost Forest, in New York City, was part of Lin’s ongoing multisite, multimedia project What Is Missing?, which she describes as her last memorial, dedicated to the environment. For the project, she brought forty-nine trees that had already been harvested to the center of Manhattan. Viewing the installation as a call to action, Lin nonetheless expresses hope: “We have a true affinity to the natural world, and if we just take a moment, quiet down, and [are] face to face with it, you begin to see, hear, explore and get connected to nature.” James C. Ewart (born 1985)
16. MAYA_221014_083.JPG: 2022 What Is Missing? Maya Lin created What Is Missing? to make people aware of the present sixth mass extinction of species. These science-based artworks connect the loss of species to habitat degradation and loss, and they emphasize that by protecting and restoring habitat, we can protect species and reduce carbon emissions. TOGETHER WE CAN SAVE TWO BIRDS WITH ONE TREE.
17. MAYA_221014_126.JPG: 1961 Maya Lin with her parents and her brother, Tan, in Athens, Ohio Unidentified photographer Photograph, 1962 Courtesy of Maya Lin Maya Lin’s parents, both from prominent Chinese families, immigrated to the United States as young adults in the 1940s. Lin’s mother, Julia Chang Lin (1928–2013), graduated from Smith College in 1951 and went on to become a poet and professor of English. Her father, Henry Huan Lin (1915–1989), was a ceramicist and served as the dean of the College of Fine Arts at Ohio University.
18. MAYA_221014_132.JPG: 1968 Maya Lin with mother and brother Henry Huan Lin (1915 - 1989) Photograph, 1968 Courtesy of Maya Lin Maya Lin’s mother, Julia Chang Lin (1928–2013), was a scholar of Chinese literature whose New York Times obituary credited her for bringing “a new generation of post-war Chinese women poets to a western audience.” In 1949, as the Nationalists bombed Shanghai’s coast, she was smuggled to the United States on a fishing boat. Before leaving home, she had sewn three items into her clothes: the acceptance telegram from Smith College and two ten-dollar bills.
19. MAYA_221014_137.JPG: 1969 Henry Huan Lin in his studio Andrew Tylek (born 1935) Photograph, 1969 Courtesy of Maya Lin Maya Lin’s father, Henry Huan Lin (1915–1989), deeply influenced his daughter’s creativity and aesthetic. "Growing up, I was surrounded by the artwork and furniture that my father made, from the stoneware plates and bowls I ate from to the tables and partitions he made. And just as he had been influenced by the arts and crafts environment, so was I."
20. MAYA_221014_141.JPG: 1964 Untitled Henry Huan Lin (1915 - 1989) Ceramic, 1964 Courtesy of Maya Lin Maya Lin says of her father, “It wasn’t until after my father died that I realized the enormous impact he had on my work. . . . After school, my brother and I would walk over to our father’s studio and spend countless hours watching as our father kneaded the clay, pounding it, pushing it, cutting it through the wire. He worked with it effortlessly, as a fluid, plastic medium, where he could pull up a form, then with one touch, open or close the shape.”
21. MAYA_221014_152.JPG: 1963 Maya Lin as a child at the playground Diana M. Lurie Photographs, 1963 (printed 2022) Courtesy of Maya Lin Maya Lin remembers one of her professors at Yale University telling her not to use the word “play” to describe her practice, but she never shies away from discussing the importance of the concept in her creative work.
22. MAYA_221014_157.JPG: 1976 Silver Animals Maya Lin (born 1959) Silver, 1976 Courtesy of Maya Lin Maya Lin’s early sculptures of animals, based on her observations of wildlife in rural Ohio, incorporate a variety of materials and include these graceful silver deer.
23. MAYA_221014_162.JPG: 1970 Maya Lin's childhood home, Cable Lane, Ohio Unidentified Artist 1970 (printed 2022), Photograph Courtesy of Maya Lin Maya Lin has said that the responsibility she feels toward the natural world is rooted in the landscape and topography of southeastern Ohio, where she grew up. “Behind our house were three ridges separated by streams. My entire childhood was spent playing in these woods and on these hills," she remembers. "I called the middle one ‘lizard’s back’ because it started up from the creek bed like a tail [and] grew into a long, winding ring . . . [that] looked like a lizard.”
24. MAYA_221014_170.JPG: Vietnam Veterans Memorial In 1979, the idea for a Vietnam Veterans Memorial was conceived by Jan Scruggs (born 1950), a former infantry corporeal, who was struggling with and studying post-traumatic stress disorder. After watching The Deer Hunter (1977), a film about three friends who were traumatized by their experiences in the Vietnam War, Scruggs began to think about creating a memorial to honor the Vietnam veterans. With the support of the American Institute of Architects and the National Endowment for the Arts, Scruggs organized an open design competition. In April 1981, a jury comprising modernist architects, sculptors, and landscape architects selected Maya Lin’s entry from a pool of 1,421 entries. Taking a radically minimalist approach, Lin proposed installing a pair of black granite walls as a “rift in the earth” and etching the surface with the names of the Americans who had died in the war (58,156 known at the time). Installed at an angle, the Vietnam Veterans Memorial simultaneously points to the Lincoln Memorial and the Washington Monument. The reflective, mirror-like surface of the granite brings the viewer’s own image onto the wall. At the same time, we see the list of names, emphasizing the individuality of each life lost in the war.
25. MAYA_221014_178.JPG: 1980 Study for the Vietnam Veterans Memorial Maya Lin (born 1959) Pastel on paper, 1980 Yale University Art Gallery; Promised gift of Maya Lin, B.A. 1981, M. Arch. 1986, in honor of Jock Reynolds, the Henry J. Heinz II Director, 1998–2018, and Vincent J. Scully Jr., B.A. 1940, M.A. 1947, Ph.D. 1949 In a series of four pastel studies for the Vietnam Veterans Memorial, Maya Lin presented sculptural, topographical, and architectural perspectives. These studies reveal her process of visualizing time by cutting into the earth.
26. MAYA_221014_188.JPG: 1982 Maya Lin at the dedication for the Vietnam Veterans Memorial, November 13, 1982 Harry Naltchayan (1925–1994) Photograph, November 13, 1982 (printed 2022) The Washington Post, courtesy of Maya Lin Studio Dedicated on November 13, 1982, as part of a five-day ceremony hosted by President Ronald Reagan, the Vietnam Veterans Memorial drew tens of thousands of Vietnam veterans to Washington. The jury stood firmly by their selected architect even as pressure mounted to make design adjustments. Some critics complained that the design was “too Asian,” while others argued that the work’s minimalist statement seemed disconnected from the human experience.
27. MAYA_221014_193.JPG: 1982 Phil McCombs, “Maya Lin and the Great Call of China” Washington Post, January 3, 1982 Courtesy of Maya Lin In a major piece, published in the Washington Post, writer Phil McCombs described the design in terms of otherness. Focusing on Lin’s Chinese heritage, he wrote: It differs from most Washington monuments in its understatement, its blending with the landscape, its serene invitation: An Asian monument for an Asian war, the hint of a 4,000-year-old culture transmuted in the art of a Chinese-American girl from Athens, Ohio. Even while the press stalked her, Lin stood by her design and advocated for herself.
28. MAYA_221014_198.JPG: 1982 Melinda Beck with Mary Lord, “Refighting the Vietnam War” Newsweek, October 25, 1982 Courtesy of Maya Lin Hundreds of critical articles were published about the Vietnam Veterans Memorial while it was being installed and after it was dedicated in 1982. Controversial for its unheroic, minimalist design and its black granite material, Lin’s memorial incited rage among critics, prominent congressmen, and some outspoken Vietnam veterans. The written and verbal attacks Lin endured included personal commentary regarding her age, gender, and identity as an Asian American.
29. MAYA_221014_201.JPG: 1989 Maya Lin working on Civil Rights Memorial Adam Stoltman (born 1960) Reproduction of photograph from 1989 Courtesy of Adam Stoltman
30. MAYA_221014_206.JPG: Civil Rights Memorial In the spring of 1988, soon after Maya Lin had completed graduate school in architecture at Yale, she received a call from Eddie Ashworth at the Southern Poverty Law Center in Montgomery, Alabama, inviting her to create a new monument. Hesitant to be typecast as a monument designer, Lin was motivated by the fact that there was not yet a national civil rights monument. She recalls: In asking myself the question of what a memorial to civil rights should be, I realized I had to give people an understanding of what that time period was about. Just as I had learned about what that history embodied—people fighting and sacrificing for racial equality—I felt I needed to make people aware of the history of that era. At the same time, I wanted to respond to the future and to the continuing struggle toward racial equality.
31. MAYA_221014_209.JPG: Civil Rights Memorial Balthazar Korab (1926–2013) Reproduction of photograph from 1989 Courtesy of Maya Lin Studio
32. MAYA_221014_212.JPG: 1991 Concept Sketch for Women’s Table Maya Lin (born 1959) Ink on tracing paper, 1991 Courtesy of Maya Lin Describing her approach to Women’s Table, Maya Lin wrote, “My first sketch was of a circular table and a spiral of words. A spiral has a beginning yet no end, which is how I saw what this piece had to accomplish: It had to mark a time when women started at Yale, but it had to incorporate infinity and growth, with no end in the timeline.”
33. MAYA_221014_218.JPG: Women’s Table, Yale University, New Haven, Connecticut Norman McGrath (born 1931) Reproduction of photograph from 1993 Courtesy of Norman McGrath
34. MAYA_221014_221.JPG: Women’s Table, Yale University, New Haven, Connecticut Commissioned in 1989 to commemorate twenty years of coeducation at Yale University, Women’s Table is situated in front of the school’s Sterling Memorial Library. The piece is inscribed with the number of women who were registered at Yale between 1701, when the school was founded, and 1993, when Maya Lin completed the work. As the numerals spiral outward from the center of the elliptical granite tabletop, water pours across the shallow surface and over its edges. Zeroes mark the first 172 years of Yale’s history. In the late nineteenth century, women could register for classes, but only at the Yale School of Fine Arts. Over the years, Women’s Table has been an important place for students and faculty to gather in solidarity for women’s rights, especially in times of protest or unrest.
35. MAYA_221014_226.JPG: 1991 Concept model for Women’s Table Maya Lin (born 1959) Stone and museum board, 1991 Courtesy of Tan Lin Collection In 1989, on the occasion of the twentieth anniversary of women being admitted to Yale, Lin was commissioned to design a memorial to honor the women who had studied there. In researching this history, she found that even before they were allowed to enroll, women were allowed to sit in on classes as “silent listeners.” In designing this memorial, Lin remembered those women and wanted to “make them seen and heard.”
36. MAYA_221014_230.JPG: 1987 Model for Civil Rights Memorial Maya Lin (born 1959) Wood, 1987 Courtesy of Maya Lin Studio Maya Lin describes her initial models as three-dimensional drawings. Minimalist in form, they convey a profound amount of information. Civil Rights Memorial was “inspired by a clock or a sundial—detailed with the time markers/dates following clockwise on the outermost edge,” she notes.
37. MAYA_221014_236.JPG: 1981 The Yale Banner Maya Lin (born 1959) Yearbook, 1981 Courtesy of Maya Lin Maya Lin arrived at Yale to study science, intending to become a field zoologist, but she soon changed her major to architecture. Her studies took her to Denmark, where the Assistens Cemetery at Norrebro inspired her to think about memorial grounds as community spaces.
38. MAYA_221014_241.JPG: 1982 Maya Lin's hat Halston (1932–1990) 1982, Wool Courtesy of Maya Lin When the Vietnam Memorial was under construction, Maya Lin could often be spotted in this hat. Made by Halston, one of the period’s most influential American fashion designers, Lin found a certain protection underneath its brim. Lin is seen wearing the hat in many of the press photographs and footage from 1982, shading her eyes and averting the harsh glares of critics.
39. MAYA_221014_266.JPG: The Bell Tower, Shantou University, Guangdong, China Unidentified photographer Reproduction of photograph from 2013 Shantou University, courtesy of Maya Lin Studio
40. MAYA_221014_270.JPG: Riggio-Lynch Interfaith Chapel, Haley Farm, Clinton, Tennessee Timothy Hursley (born 1955) Reproduction of photograph from 2004 Courtesy of Timothy Hursley
41. MAYA_221014_272.JPG: Input, Ohio University, Athens, Ohio Rose Marie Cromwell (born 1983) Reproduction of photograph from 2014 Courtesy of Rose Marie Cromwell
42. MAYA_221014_276.JPG: Langston Hughes Library, Haley Farm, Clinton, Tennessee Timothy Hursley (born 1955) Reproduction of photograph from 1999 Courtesy of Timothy Hursley
43. MAYA_221014_278.JPG: Eleven Minute Line, The Wanås Foundation, Knislinge, Sweden Anders Norsell (born 1961) Reproduction of photograph from 2004 Courtesy of Maya Lin Studio
44. MAYA_221014_280.JPG: Box House, Telluride, Colorado Brett Schreckengost (born 1971) Reproduction of photograph from 2007 Courtesy of Brett Schreckengost
45. MAYA_221014_283.JPG: Il Cortile Mare, American Academy in Rome, Italy Robert Reck (born c. 1945) Reproduction of photograph from 1998 Courtesy of Maya Lin Studio
46. MAYA_221014_286.JPG: Groundswell, Wexner Center for the Arts, Columbus, Ohio Rose Marie Cromwell (born 1983) Reproduction of photograph from 2014 Courtesy of Rose Marie Cromwell
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