Katie Paterson, Future Library, 2014. Kazuo Kadonaga, Wood No. 11 DB, 1999. Patty Wickman, Walter’s Tree, 8 Mar 2014, 2014. Tim Hawkinson, Sebastian, 2015. Leonor Jurado, Untitled, 2009. Todd Gray, Bamboo Hood, 2019. Lucas Reiner, Fifteen Stations (Crucifixion), 2010. Ken Gonzales-Day, Two men were taken., 2007. Billy Joe Miller, Shasta Wreath, 2020.

To Bough and To Bend

08.30.22 – 03.26.23

Curated by Bridge Projects, and on view from August 30, 2022 to March 26, 2023 at:

Pepperdine University
24255 Pacific Coast Highway
Malibu, CA 90263

“Tis the gift to be simple, ‘tis the gift to be free,
‘Tis the gift to come down where we ought to be,
And when we find ourselves in the place just right,
‘Twill be in the valley of love and delight.
When true simplicity is gain’d,
To bow and to bend we will not be asham’d,
To turn, turn will be our delight,
Till by turning, turning we come round right.”

“Simple Gifts” is the Shaker song from which To Bough and To Bend borrows its title. Written by Joseph Brackett in 1848, the song was both an instruction for social dance and also for how to live a life of simplicity. Inspired by those ideas, the curators of this exhibition ask, “Do trees not also teach us how to embody this humble posture as they bend their boughs to greet us?”

As they do in Shaker spirituality, trees also feature prominently in many of the world’s religions. Ancient history recounts how their shade and branches have been sites of contemplation, suffering, and renewal. The Bodhi Tree is said to be the site of Siddhārtha Gautama’s awakening as the Buddha. The Tree of Life is found in both the beginning of the Jewish Tanakh and in the last book of the Christian Scriptures. Ancient Chinook prayers address God as the “Maker of Trees.” Trees are rightly called the “architecture of imagination,” writes the novelist Richard Powers.

Today, trees still speak: blunt stumps communicate deforestation while charred limbs speak of Los Angeles fires started by our own hands—or our negligence. New discoveries of communicating root systems speak to a tangled web of connections just below the surface of the visible world, just as LA’s iconic—and imported—palms evoke the vast impacts of our colonial past.

To Bough and To Bend explores these ecological issues and looks to religious and historical art practices to guide us back into fellowship with these old friends and the living world we share.

The first iteration of To Bough and To Bend opened at Bridge Project’s Hollywood gallery in March 2020, on the eve of the COVID pandemic lockdown. Given the circumstances, the exhibition was seen by very few visitors. “A tree can be only as strong as the forest that surrounds it,” writes Peter Wohlleben in The Hidden Life of Trees. In the solitude of our isolated quarantines, this bore itself out as a human reality as well. The Bridge Projects curatorial team, consisting of Cara Lewis, Meaghan Ritchey, Vicki Smith, and Linnea Spransy, adds, “We are deeply grateful to the Weisman Museum for giving the exhibition a second life. It is our sincere hope that, like a forest canopy on a hot day, To Bough and To Bend will be a shared space of reflection and rest.”

The Frederick R. Weisman Museum of Art at Pepperdine University was dedicated in September 1992, and since then, has showcased modern and contemporary art by internationally recognized artists, with a focus on the art of California. Past exhibitions include Claes Oldenburg: Drawings (2004), Chihuly Los Angeles (2005), Jim Dine: Some Drawings (2007), Mercedes Matter: A Retrospective Exhibition (2010), Roy Lichtenstein: In Process (2011), Thiebaud: Works on Paper (2014), Andy Warhol: Life and Legends (2016), Larry Bell: Pacific Red (2017), Richard Diebenkorn: Beginnings, 1942–1955 (2019), Rodin and Women: Muses, Sirens, Lovers (2020), and The Cultivators: Highlights from the Kinsey African American Art and History Collection, in addition to numerous exhibitions drawn from the collection of the Frederick R. Weisman Foundation.

Located on Pepperdine’s Malibu campus, the museum is open Tuesday–Sunday, 11 a.m. to 5 p.m., and is closed on Mondays and major holidays. Admission is always free and advance reservations are no longer required.

After three years, Bridge Projects closed its brick and mortar space in Hollywood on July 30, 2022. Through collaborations with institutions like the Weisman Museum of Art, Bridge is hopeful that the work curating for and convening audiences at the intersection of contemporary art, spirituality, and religious traditions will continue to take root and bear fruit.

Interested in works?
Contact Vicki Phung Smith
for availability
Selected Works
Kieran Dodds
Bitsawit Mariam, 2018
archival photographic print, 50 x 37 ½ inches
Kazuo Kadonaga
Wood No. 11 DB (view 1), 1999
cedar, 28 x 39 x 40 inches
Tim Hawkinson
Sebastian, 2015
Christmas trees, palm branches, seed pods, sunflower seeds, coconut, acorns, avocado pit, corn husk, pomegranate skin, leaves, pine cone, twine, and raffia, 92 x 31 x 38 inches
Billy Joe Miller
Shasta Wreath, 2020
organic materials obtained in collaboration with Nathan Weick and a Bureau of Land Management Forester, 100 inches diameter, wreath 100 inches diameter, ash circle
Tal Shochat
Rimon (Pomegranate), 2010
c-print, mounted and framed, 47 1/4 x 50 3/4 inches
Chris Garofalo
Stacka Hydnum Pyrenula Macrospora, 2012
glazed porcelain, 16 x 7 x 7 inches, ceramic, 25 x 14 x 14 inches, container
Heather Rasmussen
Untitled diptych (Body and palm frond on blue), 2020
pigment prints, 20 x 26 3/5 inches each, edition 1 of 3
Todd Gray
Bamboo Hood, 2019
archival pigment prints, artist frames, UV laminate, 30 3/8 x 42 1/4 x 3 1/2 inches
To Bough and To Bend review for the Los Angeles Times
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