In lieu of flowers the family would appreciate donations to the EOD Warrior Foundation A Mass of Christian Burial will be held on Friday, February 16, 10AM at St. Though he is already greatly missed, those that love him know he took his final journey to his heavenly home and was greeted by his best friend, Bandit.įriends will be received on Thursday, Februfrom 2-4 & 6-8PM at the George A. He was not one to mince words in conversation, but he was very much a poet and wrote beautiful pieces that his family will cherish forever. He loved hunting with his brothers, golfing with friends, digging in his garden, and picking on his guitar. An avid fisherman, he was his happiest casting a line and watching the sky change colors. Son of late Albert and Roberta Hunkele, Greg was preceded in death by brothers Albert “Al” Hunkele, William “Bill” Hunkele, and sister Janice “Jannie” Hunkele.įamily was the most important gift in life to Greg. His loving family also included his brother Wayne Hunkele, and numerous nieces and nephews: Genevieve, Janelle, Ted, Shane, Corey, Cassandra, Joanna, and Betsy, as well as two grandnephews Christian and James and grandniece Cecily. Greg was also a wonderful grandfather to four beautiful grandchildren, Cayden Hunkele, TJ Rock, McKenna Hunkele, and Charlotte Hunkele. Beloved husband of Maria Stipa Hunkele and loving father of Giovanina Hunkele-Griffin (Steve), Nicholas Hunkele (Samantha), and Alexandra Hunkele. Hunkele 70, of Gibsonia was called home to be with the Lord. On Thursday, February 8, 2024, Gregory R. In lieu of flowers, the family suggests memorials to The Little Sisters of the Poor, 1028 Benton Ave. Family and friends received Sunday, February 25 from 1-3 and 5-7pm at the George A Thoma Funeral Home, Inc 10418 Perry Hwy, Wexford, PA 15090 Mass of Christian Burial on Monday, February 26 at 10 am in St.Alexis Church (St.Aidan Parish). The Tate Modern’s 2007 retrospective of her works, which subsequently traveled to the Centre Pompidou in Paris The Guggenheim Museum in New York The Museum of Contemporary Art in Los Angeles and The Hirshhorn Museum & Sculpture Garden in Washington D.C., cemented her legacy as a foremost grande dame of late Modernism.Age 82 of North HIlls on Tuesday FebruBeloved wife for 50 years to Wally Merriman dear mother of Jeffrey Merriman grandmother of Carly, Braden, Ava and Dane Merriman. In 2001, Bourgeois was the first artist commissioned to fill the Tate Modern’s cavernous Turbine Hall. Major breakthroughs on the international scene followed with The Museum of Modern Art in New York's 1982 retrospective of her work Bourgeois's participation in Documenta IX in 1992 and her representation of the United States at the 45th Venice Biennale in 1993. Her installation of these sculptures as clustered ‘environments’ in 19 foreshadowed the immersive encounters of installation art twenty years before the genre’s rise to prominence.īourgeois’s work was included in the seminal exhibition ‘Eccentric Abstraction,’ curated by Lucy Lippard for New York's Fischbach Gallery in 1966. The ‘Personages’ served as physical surrogates for the friends and family Bourgeois had left behind in France, while also highlighting an interest in architecture dating back to her childhood. Although her oeuvre traverses the realms of painting, drawing, printmaking, and performance, Bourgeois remains best known for her work in sculpture.īourgeois’s early works include her distinct 'Personages' from the late 1940s and early 1950s a series of free-standing sculptures which reference the human figure and various urban structures, including skyscrapers. Rather than pursuing formalist concerns for their own sake, Bourgeois endeavored to find the most appropriate means of expressing her ideas and emotions, combining a wide range of materials-variously, fabric, plaster, latex, marble and bronze-with an endless repertoire of found objects. Employing motifs, dramatic colors, dense skeins of thread, and vast variety of media, Bourgeois's distinctive symbolic code enmeshes the complexities of the human experience and individual introspection. ‘Art,’ as she once remarked in an interview, ‘is the experience, the re-experience of a trauma.’ Arising from distinct and highly individualized processes of conceptualization, Bourgeois's multiplicity of forms and materials enact a perpetual play: at once embedding and conjuring emotions, only to dispel and disperse their psychological grasp. Bourgeois’s work is inextricably entwined with her life and experiences: fathoming the depths of emotion and psychology across two- and three-dimensional planes of expression.
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