Chinese, Eastern Han dynasty (25–220 CE), Watchtower, 2nd century, Earthenware with green glaze, 44 ½ x 13 ½ x 16 inches, Museum purchase in memory of Kathleen (Kit) Johnston and in recognition of the many DAI volunteers she epitomized, 1992.18
In preparation for a spirit's journey into the afterlife, ancient Chinese furnished their tombs with foods, figurines, and models of objects used during their lifetime. As a lookout for defense or entertainment, this four-tory model represents a freestanding watchtower built within an estate. The bird on top of the tower is an auspicious omen, one of the four animals symbolizing the four cardinal directions in cosmology. The architectural details -- brackets supporting heavy roofs, latticed windows above the doors, rosette finials and tiles on the roofs, represent the advanced architectural development of second century China.

Reason to consider: Huber Heights is well known for its brick homes. This Watchtower is made from earthenware – the same material that makes bricks. The Watchtower exhibits an advanced architectural design, and the tall shape is fitting for a city whose name evokes reaching new heights. The piece was purchased in honor of the Dayton Art Institute volunteers. It is a nice testament to the value of volunteers to the museum and the Library.

Bozo people (Mali), Antelope Head Puppet, 20th century, Paint, wood, iron, and rubber, 26 1/2 inches, Museum purchase, 1998.94

This is a rod puppet, which would be used behind a screen or on a large mobile stage. Brightly colored figures would be used to act out plots and give messages of leadership, heroism and community relationships. The boundaries between secular and sacred performances are not always clear. In both private religious ceremonies and public spectacles, displays of art lead communities to reflect upon their values and their history.

Reason to consider: In West Africa, the puppet theatre remains one of the most beautiful legacies of tradition. These venerated objects were used in religious ceremonies and rituals. Over time puppets were also used as objects of education and entertainment – like their use in the United States. Puppet theatre offers another way to tell a story.

Robert Ellis Kushner (b. 1949) American, Asha III, 1984, Paint on wrought iron, 76 x 46 3/4 x 3/4 inches, Museum purchase, 1987.81.2

Robert Kushner has gained much international recognition as one of the leading figures of the Pattern and Decoration Movement that began in New York in the late 1970s. He has established his idiosyncratic world where an aesthetic sense of West and East overlaps through the influences from European textiles, Fauvism’s freewheeling line, as well as Rinpa’s decorativeness. Here, he departs from his botanical forms and creates a profile relief in red metal of two individuals. Although one is smaller than the other, they are posed in identical manner. Asha is a girl’s name, popular in India that comes from the Sanskrit word for “hope.” The jewelry and design of clothing also suggests the influence of India.

Reason to consider: The new Libraries are community gathering spaces where people can exchange ideas. Much like reading, art stimulates the imagination. What do you think is going on between these two people? Could the circles and lines in the background represent words? Perhaps they are discussing a book.

China, Tang dynasty (618-907), Horse, 7th century, Earthenware with traces of painted decoration and gold, 21½ x 24 inches, The Dayton Art Institute, Gift of Mrs. Howard C. Davidson in honor of her mother, Mrs. Harrie G. Carnell, 1943.39

The Tang dynasty (618–907) was a time of political stability, economic expansion, and cultural flourishing. It’s capital, Chang’an (present-day Xi’an), was diverse and cosmopolitan. As with earlier Chinese dynasties, it was common to place ceramic figures in tombs to accompany the deceased into the afterlife. This included horses, an animal prized by Tang rulers. Horses from western lands were one of the most important forms of tribute paid to the dynasty and supported its military might. Early in the Tang period, the stylistic development of tomb horses shifted towards realism. The fully delineated features, especially at the knee and hoof joints, the musculature of the face, the swept-back forehairs, and braided tail all point to the early Tang period. The anatomical correctness and elegant proportions give it a sense of life and natural movement.

Reason to consider: Once farmland and woodlots, more than 50 years of natural succession have created rich areas of forests, thickets, meadows and prairies to explore at Carriage Hill Farm, located in Huber Heights. Farm life in the 1880s comes alive at the historical farm, complete with period farm animals and seven miles of horseback riding trails. Like the Library, the park has been a favorite place for families to spend quality time together for generations.

Mary Forrer Peirce (1838–1929) American, Growing Flowers, 1869, Oil on canvas, 24 x 20 ¼ inches, The Dayton Art Institute, Gift of Suzanne Jordan Morris through her sister, Jean Jordan Phillips, 1942.33

Ohio native Mary Forrer Peirce studied painting at the Cooper Institute in New York in 1860. After travelling and studying in Europe, Peirce returned to Dayton where she steadily gained a reputation as an accomplished painter and teacher. She is best known for her landscape and nature scenes as seen here. Peirce also founded and was an active member of Dayton’s Decorative Arts Society.

Reason to consider: The Dayton Metro Library holds the Forrer-Peirce-Wood collection which contains the personal correspondence of our artist Mary Forrer Peirce who was an active contributor to the Dayton art community. The painting illustrates flowers that are native to the Midwest and could be found throughout the Huber Heights area.

Jack Lembeck (born 1942) American, The Roundup, 1980, Acrylic on canvas, 56 x 48 inches, The Dayton Art Institute, Gift of Mr. Gerald J. Koerner, 1984.110

Lembeck works in a style that arose in the 1970s and 1980s known as Abstract Illusionism. The painting here looks to be an abstract design with large brushstrokes and splashes of paint. At closer inspection, however, the added illusion of perspective and depth become apparent as the thick designs appear to cast shadows throughout. In addition, paint has been applied to look like masking tape across the front and diagonally in the lower right. In this way, the art is a nod to both the painterly approach of Abstract Expressionists as well as the trompe-l’oeil ("fool the eye")

Reason to consider: This work is full of illusion, the broad brushstrokes, with shadow implying depth and what appears to be masking tape but is also paint! When applied to literature, an illusion can be a narrative technique, such as a dream, vision, or other device that misleads, confuses, or tricks a character. In the visual arts and in literature illusion invites us to take a closer look.