Conoid Bench

George Nakashima, Conoid Bench, 1977, black walnut and hickory, 31 1884 1235 58 in. (79.1214.690.5 cm), Smithsonian American Art Museum, Gift of Dr. and Mrs. Warren D. Brill, 1991.121

Artwork Details

Title
Conoid Bench
Date
1977
Location
Not on view
Dimensions
31 1884 1235 58 in. (79.1214.690.5 cm)
Credit Line
Gift of Dr. and Mrs. Warren D. Brill
Mediums
Mediums Description
black walnut and hickory
Classifications
Object Number
1991.121

Artwork Description

The groundbreaking furniture of George Nakashima was included in the Renwick Gallery’s first exhibition, Woodenworks, in 1972. Nakashima trained as an architect at the University of Washington and the Massachusetts Institute of Technology. He discovered woodworking while incarcerated at the Minidoka Detention Center in southern Idaho, where he was forcibly detained during World War II as part of the federal government’s Executive Order 9066. Following his release, in 1943, he opened a furniture studio in New Hope, Pennsylvania. His artistic philosophy was simple: to maintain the beauty and goodness of a tree. This is an example of a conoid bench, a design first introduced in 1960, featuring the natural “free edge” of a black walnut tree.


This Present Moment: Crafting a Better World, 2022

Verbal Description

A bench whose seat is one seven-foot-long smooth slab of wood with its natural, curving edges intact. Three feet deep, the right end of the seat is the widest, and its middle slightly narrows before widening again at the left end. About two and a half feet tall, it rests low on four thin, slightly tapered legs that stand perpendicular to the seat. A backrest is made up of twenty vertical wooden rods, each wider at center and tapered at the ends. The skinny rods connect to a smooth, wider, and slightly concave horizontal piece of wood at the top. While the backrest reaches to the left end of the seat, it doesn’t stretch all the way across to the right, leaving the widest right edge empty. There are no arm rests.

The natural grain of black walnut varies in shades within the seat; the long edges of the slab are lighter, and the center is a mix of darker shades. The hickory wood of the legs and backrest are more uniform in color. Within the right edge of the seat, a natural notch in the wood slightly interrupts the smooth edge.

Works by this artist (2 items)

Frederic Edwin Church, Cotopaxi, 1855, oil on canvas, Smithsonian American Art Museum, Gift of Mrs. Frank R. McCoy, 1965.12
Cotopaxi
Date1855
oil on canvas
On view
Frederic Edwin Church, Aurora Borealis, 1865, oil on canvas, Smithsonian American Art Museum, Gift of Eleanor Blodgett, 1911.4.1
Aurora Borealis
Date1865
oil on canvas
On view

Exhibitions

Quilt featuring the portrait of a woman
This Present Moment: Crafting a Better World
May 13, 2022April 2, 2023
This Present Moment: Crafting a Better World showcases the dynamic landscape of American craft today.

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Bohyun Yoon, Glass Tube, 2012, glass, stainless steel, blowtorch, acrylic paint, and digital video, color, sound; 2:05 minutes, Smithsonian American Art Museum, Gift of Giselle and Ben Huberman, 2012.57A-L, © 2012, Bohyun Yoon
Glass Tube
Date2012
glass, stainless steel, blowtorch, acrylic paint, and digital video, color, sound; 2:05 minutes
Not on view
Katherine Lewis, Rope Coil, 2011, willow, Smithsonian American Art Museum, Gift of Martha G. Ware and Steven R. Cole, 2011.47.39
Rope Coil
Date2011
willow
Not on view
Pro Bono Jeweler 2
Date2008
digital video, color, sound; 6:23 minutes
Not on view
Vicki Lee Soboleff, Yellow Cedar Face Mask, 2020, yellow cedar and sinew, Smithsonian American Art Museum, Museum purchase through the Kenneth R. Trapp Acquisition Fund, 2020.29.2, © June 1, 2020, Vicki Soboleff
Yellow Cedar Face Mask
Date2020
yellow cedar and sinew
Not on view