It’s open season for public art in St. Louis, according to the groups behind Sculpture City St. Louis 2014—an ongoing festival “intended to draw attention to the rich presence sculpture has in the visual landscape of our region.” The programming leads up to and continues after an April conference. Art exhibitions throughout the year aim to continue the conversation. For instance, Art of Its Own Making, a show at the Pulitzer Foundation for the Arts that features sculpture, installation, film, and performance works through August 20. St. Louis Sculpture City showcases public art, sculpture, and design throughout the year, before and after its April 10–12 conference “Monument / Anti-Monument,” which will encourage dialogue about art and public life. A full list of the shows and events that make up the ongoing examination of public art is available on the group's website. Non-profit institutions, for-profit enterprises, and government/civic art programs with programming within 100 miles of downtown St. Louis during 2014 can submit their program to Sculpture City St. Louis, which may list them on their website. St. Louis is a fitting place for the topic. From the two-block sculpture park dubbed CityGarden to plans for a revamped park at the base of the Gateway Arch, it’s a busy time for public space in St. Louis.
Posts tagged with "Sculpture":
Ken Price’s colorful, sensual ceramic sculptures have always posed the question as to whether they are art or craft. But the blur may also include the architectonic. His signature forms—cups and eggs—set up a tension between exterior and interior. New York Times art critic Roberta Smith has written: "Their forms oscillated between the biomorphic and the geometric, the geological and the architectural." Price’s friend, Frank Gehry, designed the installation of the exhibition, Ken Price Sculpture: A Retrospective, currently on view at the Metropolitan Museum of Art through September 22. He lives with Price’s ceramics, his first purchase being a cup festooned with snails. Gehry wrote of Price’s work, "They were like buildings." He cited a cup with a twisted piece at the top, and sees the similarity to his California Aerospace Museum, 1982-84, featuring an airplane jutting out of the structure. "I think the similarity of form was totally unconscious. Now I think a lot of architects must have been looking at those cups…the relationships are amazing." The relationship was probably both ways. The catalogue makes compelling visual analogies between Price’s Untitled (Slate Cup) from 1972-77 with Frank Lloyd Wright’s Fallingwater; the blocky orange flats perched on yellow sides of Hawaiian from 1980, are compared with cliffside pueblo dwelling (both have small dark cutout “windows” set into rectangles) as well as OMA’s Seattle Public Library. Think of the openings into his sculptural forms, whether small or large, as the mysterious entrance to a darkened, monumental temple. With Price, scale is relative—Price quoted artist Joseph Cornell, whose boxes he admired: “Tiny is the last refuge of the enormous.” Ken Price Sculpture: A Retrospective on view at the Metropolitan Museum of Art, 1000 Fifth Ave., through September 22.
Follow the Architecture Chicago Plus blog as Lynn Becker raises an eyebrow at the new sculpture that quietly popped up in the lobby of downtown Chicago’s celebrated Inland Steel Building. The 1957 SOM icon seems to have acquired a consortium of ice hunks, courtesy Frank Gehry. Ostensibly a formal counterpoint to the elegant energy of Richard Lippold’s Radiant I, the original lobby art, Gehry’s glass agglomeration (fabricated by the John Lewis Glass Studio of Oakland, California) frames Radiant I and responds to its angularity with carved blobs. It’s admittedly atypical in the setting of the modernist masterpiece, but doesn’t overpower the space or the original artwork.
Richard Serra: Early Work David Zwirner Gallery 537 West 20th Street New York, NY Through June 15 David Zwirner presents an exposition of early work by artist Richard Serra. The works on display, dating from 1966 to 1971 and compiled from museum and private collections, represent Serra’s earliest innovative, process-oriented experiments that employ nontraditional materials. He uses vulcanized rubber, neon, and lead to emphasize weight in relationship to the nature of materials. The exhibition, on view through June 15 at David Zwirner, examines the innovative methods and ideas that so decisively place Serra in the history of Twentieth-Century art. Serra’s work can be seen in numerous public and private collections in the United States and abroad, including the Museum of Modern Art and the Guggenheim Museum in New York. Since his early work, his approach to sculpture has evolved through focusing on site-specific projects that work with particular architectural, urban, or landscape settings. In concurrence with the exhibition, the gallery has published a complete monograph dedicated to the artist’s early practice. The publication includes archival manuscripts and photographs from the years 1966 to 1972. Also on view will be a program featuring Serra’s films from the same period.
Chicago’s 1893 Ferris Wheel—the world’s first—inspired visitors at the World’s Columbian Exposition and helped establish the burgeoning city’s reputation for big dreams and hard work. Although it’s unlikely to have quite the same impact as its historical touchstone, a new proposal for seven wheels in Navy Pier’s Gateway Park could rekindle a semblance of that awe in modern day passersby. The idea is the brainchild of Hapsitus, an urban design studio based in Beirut whose name is a portmanteau of “happening” and “situation.” In sticking with the firm's philosophy of viewing the city as an organism and a “concentrated distribution of energy,” Hapsitus’ Wheels of Chicago project is composed of “Chicago moments,” including its over-arching diversity and individual regions: Southside Industry, Lakefront Playground, Downtown Business, Westside Art, and Northside Leisure. The steel sculptures would range in size from 65 feet in diameter (“business” and “art”) to 115 feet, compared to the 150-foot-wide Navy Pier Ferris Wheel. Wrapped in steel cables, the objects would turn thanks to motors in their central hubs. Though the 1893 wheel is long gone, the project’s Ferris Wheel homage is accurately descrbied by the designers as “a continuous celebration of Chicago.”
Figment NYC is an annual celebration of arts and culture that takes place on Governors Island from June 9-10. Now in its sixth year, Figment provides New Yorkers with an interactive space to participate in the arts, with volunteer artists collaborating on works that transform the environment and the public’s perception. With visual art, music, performance, and installation works, the event will provide the community with a forum for emerging artists to engage with the public. This year installations include Face of Liberty by Zaq Landsberg, a 1:1 replica of the face of the Statue of Liberty that one can sit and climb on, and FY-Langes, a digitally fabricated structure made of foam designed by Columbia GSAPP students. As an all-volunteer organization, Figment seeks to provide an antidote to the commercialization of art—built on community rather than commerce, the event hopes to create a shared experience for the public, free of market-based constraints. To make this possible Figment relies on the contributions of community members, so please consider volunteering or making a donation.
'Butter Cow Lady' Dies at 81: Norma Lyon, known for sculpting tons of butter into life-size figures of cows, famous people, and even a diorama of the Last Supper at the Iowa State Fair, has passed away, the New York Times reports. Ms. Lyon got her start in butter sculpting in 1960 as the sculptor of the Butter Cow at the fair, after studying animal science and taking studio classes at Iowa State University. In 2007, she created a sculpture of then-Senator Obama from 23 pounds of butter, and Politico credited her endorsement for his victory in the Iowa caucus. New Plans for the Essex Street Market: The decades-old market is part of the Seward Park Urban Renewal Area on the Lower East Side, an area targeted for dramatic housing and economic development in the coming years. So what does that mean for the Essex Street Market? Planning officials presented renderings to show what a new market in a two-story mixed-use development might look like. Europe Hates Drivers: Cities across Europe are making driving more expensive and inconvenient to steer residents away from cars. Is it a good idea or a road trip to hell on earth? In Zurich, the Times reports:
Closely spaced red lights have been added on roads into town, causing delays and angst for commuters. Pedestrian underpasses that once allowed traffic to flow freely across major intersections have been removed. Operators in the city’s ever expanding tram system can turn traffic lights in their favor as they approach, forcing cars to halt.Talk About a Space Saver: JDS Architects put a rolling playground atop three penthouse apartments in a turn-of-the-century building in Copenhagen. The roof includes a grassy hill with curved steps and a wooden deck, a playground and a suspension bridge. Fast Company Design reports the budget for the penthouses and the roof was $1.35 million. 6 Alternatives to Plastic: For its newest project, Studio Formafantasma dug into centuries-old technology to design plastic-like objects "designed as if the oil-based era, in which we are living, never took place.” Read on to see what they used.
Buffalo-based architect Dennis Maher has devised his own version of adaptive reuse - he's remaking abandoned buildings into sculptures. Inspired by the shrinking Rust Belt city where he lives and works, his sculptures "honor the former lives of these raw materials" in a way that is striking and thought-provoking. The large works of art in Undone-Redone City are complex, and offer us a new way of seeing buildings, or at least their elements. In Maher's creations, a door and some flooring and a window frame might all mesh together to form a new shape and a new function that the original builders probably never imagined.
Portuguese artist Alexandre Farto, aka Vhils, sculpts architecture. Using mallets, picks, and jackhammers, Vhils chips away layers of plaster to create large murals in relief. His series of wall etchings called Scratching the Surface appears around the world from Moscow to Italy to the United States. Via Today and Tomorrow.
What do kitchen counter tops, shower-wall cladding, and the Grand Concourse have in common? Corian, of course. Thanks to performance-artist-turned-designer (and Bronx native) Vito Acconci and Acconci Studio designers Adam Jakubowski and Bradley Rothenberg, the Bronx Museum can now boast its very own DuPont fabricated sculpture. Acconci’s large, porous installation is titled Lobby-For-The-Time-Being and provides an imaginative, fabric-like reconsideration of the now ubiquitous polymer, originally developed in 1967 to replace human bones. In what seems like the most recent installment in a worldwide series of Corian-centric, site-specific sculpture, Lobby-For-The-Time-Being incorporates seating (take that Philadelphia), as well as lighting and projections by Taylor Levy and Che-Wei Wang. Technically, Acconci’s first foray into architecture was way back in 1971, the year the Bronx Museum opened. Though it’s unlikely anyone remembers Seedbed for its central wooden structure...