BGuthrie Photos: NJ -- Hamilton -- Grounds For Sculpture -- Pieces Not By Seward Johnson

NJ -- Hamilton -- Grounds For Sculpture -- Pieces Not By Seward Johnson:

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. GFSN1_180822_001.JPG: Harriet FeBland Moon Song, 1976 The humanization of the mathematics of shapes became a hallmark of FeBland's work. Paul Mocsanyi, former director of the New School Art Center at the New School for Social Research in New York City has dubbed her "the poet of geometry." Geometry is the central focus in the work of Harriet FeBland. However her approach was not strictly analytical--rather she explored the mystery and beauty of geometric forms and shapes. 'Moon Song', made of two refined marble components, present the calm, mystical presence of a monolith, especially when compared with her other, more visually active and colorful works. The elongated pyramid-like form of the gray Italian marble base serves to elevate the top element to eye-level, bringing the sculpture to an intimate human scale. The high-polish, black Belgian marble crowing piece draws the viewer's gaze along a one-point perspective inward to a set of square planes, each made through the use of negative space, and beyond into the void.
2. GFSN1_180822_007.JPG: Andrzej Pitynski Space, Conquer or Die -- Swiatowid, 2013 'Space, Conquer or Die - Swiatowid' was made by monumentalist sculptor Andrew Pitynski. He has created monuments sited all over the world, including in the United States, Poland, Italy, and South Africa. His work also includes monumental portraits, bronze compositions, reliefs and medals. This monumental composition was cast in bronze in Thailand and installed at Grounds For Sculpture in April 2014. The sculpture weighs 7 tons and stands 36.5 feet high by 16 feet wide on a gray granite base. 'Swiatowid' is inspired by ancient European art and legends, which are particularly fascinating to Pitynski. Swiatowid was a pagan god of the sun worshipped in pre-Christian Europe. The sun deity, lord of war, peace, and prosperity was represented with four faces. It was believed that every day, 'Swiatowid' with his long sword in one hand and drinking horn in the other, rode his white horse across the sky from East to West. For Pitynski, his 'Swiatowid' is a bridge between the deep past, the present, and the future. Although representing an ancient legend, the whole composition in the form of a space ship ready to launch in the conquest of outer space. The top of the monument is in the form of a head with a helmet carrying the 14 stars of the European Union. The head has four faces, but each represents a different aspect of the one sun god. The youngest face is toward the East, and the oldest towards the North. The Eastern face has attributes of the god "Lada" lord of love, life, and happiness. The Southern face represents "Swarog" controller of the sun, the stars and the whole solar system. The face to the West is "Mokusz" god of prosperity, banquets and feasting, dance, music and art. Finally, the Northern face is "Perun" god of war, of thunder and lightning, and of natural catastrophes. Beneath each of the faces are three reliefs. These portray life, love, war, the passage of time, solar symbols and an image of Swiatowid on his horse amongst the stars and planets. Four monumental knights standing 13.5 feet high surround the base of the column. These are the legendary ancestors of the European people. Facing East stands the Amazon, Wanda, queen of the Scythians and Sarmatians. Facing South is Boleslaw the Great, the first Christian king of Poland bearing the spear of St. Moritz which was given to him by the Holy Roman Emperor Otto III. Looking West is Crak, the legendary king of the Sarmatians. Facing North is the first Christian Viking king, Canute the Great, who became king of England, Denmark, Norway and Sweden. He was the nephew of the Polish King Boleslaw the Great, as his mother, Brunhilda, was the sister of Boleslaw the Great and the daughter of the Polish Prince Mieszko I who Christianized Poland in 966 AD. Pitynski has said: "It was always my dream to create 'Swiatowid' to bring him back from the time before Christ to the twentieth century A.D. and to see him standing in all his glory, a representation of proud legends, giving honor and respect to Europe's deep pagan roots from which grew the beauty of European culture and art. … This monument is my message to humanity: there is only one way to survive – to conquer space, to find a new galaxy, a new star, which will be our new sun and our new god."
3. GFSN1_180822_018.JPG: Robert Lobe Bones of the Earth, 2006
4. GFSN1_180822_045.JPG: Isaac Witkin Tender Yearning, 1985
5. GFSN1_180822_054.JPG: Isaac Witkin Eolith, 1994 "…the masses seem at once like primordial "lumps" -- essential, dense volumes from which all organic life springs -- and cloudlike. They are simultaneously earthbound and weightless, geologic, body-like, and even ephemeral. Which association dominates seems to depend on how the masses are disposed in space, whether they lean, tilt, slouch, or are hoisted defiantly into the air."–Karen Wilkin, curator and critic The above passage by Karen Wilkin eloquently expresses the essence of Isaac Witkin's stone sculpture -- 'Eolith'. Soaring 14 feet up into the sky, weighing approximately 20,000 pounds and made of Blue Mountain granite, 'Eolith' was previously on exhibit at Grounds For Sculpture in 1995 as part of the sculpture park's Spring/Summer Exhibitions. While Witkin is principally known for his bold and formal constructivist steel pieces from the 1960's and later for his soft-edged, organic bronze pieces, 'Eolith' stands as an example of the artist's first opportunity in 1994 to work with and explore stone as a sculptural medium.
6. GFSN1_180822_064.JPG: Bela Fuko Internal Evolution, 2005 Originally inlcuded in Grounds For Sculpture's exhibition, Balanced Dialogue: 10th Anniversary of the Hungarian Sculptors Society (2005/06), B�la Fuko's 'Internal Evolution' joins the sculpture park's outdoor exhibition. Appropriately sited in an environment that encourages tranquility and contemplation, Fuko's sculpture inspires introspection. Influenced in part by the psychology of Carl G. Jung, Fuko is interested in the search for spiritual meaning and the collective unconscious. Fuko describes 'Internal Evolution': "The fitted blocks of stones…refer to the heart of the hurricane, to the central truth, to the childlike intactness of our ego, to the darkness of things full of secrets which are beyond the conscious remembrance. The spiral, however, speaks to the continuously widening nature of our self-improvement as well as the ever-changing viability of our internal evolution. The coexisting spirals of the stone merge into each other, and this symbolically relates to the phenomenon that happens among social beings. …the wonderful metamorphosis that passes from time to time in us…generated by an individual being at a higher level of existence. Finally, I aspire to emphasize the power of the complex and of the person shaping the intellectual vitality in the matched forms and in the relationship of the splayed spirals."
7. GFSN1_180822_073.JPG: Peter Voulkos Nucci, 2001 Voulkos' 'Missoula' and 'Bucci' are bronze castings of monumental clay stacks. Each piece is constructed around a cylindrical core that has been distorted, reduced, and subsequently rebuilt using ceramic fragments, slabs, bricks, and chunks of various shapes, textures, and sizes. In Missoula, the negative space of the rectangular windows balances the dense, fitted bricks of the base and lends a distinct architectural sensibility to the piece. The rounded cap and smooth neck of Bucci invite figurative references. In each work, the muscular and weighted lines of seams join blemished satin, pock-marked, and wounded surfaces to produce a sculptural record of its individual construction, destruction, and reformation.
8. GFSN1_180822_083.JPG: Peter Voulkos Big Missoula, 1995 Voulkos's 'Missoula' and 'Bucci' are bronze castings of monumental clay stacks. Each piece is constructed around a cylindrical core that has been distorted, reduced, and subsequently rebuilt using ceramic fragments, slabs, bricks, and chunks of various shapes, textures, and sizes. In 'Missoula', the negative space of the rectangular windows balances the dense, fitted bricks of the base and lends a distinct architectural sensibility to the piece. The rounded cap and smooth neck of 'Bucci' invite figurative references. In each work, the muscular and weighted lines of seams join blemished satin, pock-marked, and wounded surfaces to produce a sculptural record of its individual construction, destruction, and reformation.
9. GFSN1_180822_088.JPG: ???
10. GFSN1_180822_097.JPG: ???
11. GFSN1_180822_108.JPG: Gordon Gund Flukes, 2004
12. GFSN1_180822_117.JPG: E. Calder Powel Schatz's Spaceship (inspired by the Oloid) Version II, 2012
13. GFSN1_180822_143.JPG: Frederick Morante Nude Descending the Stare Case, 2007 Scaling (or rather descending) the brick wall of the Seward Johnson Center for the Arts is Frederick Morante's sculpture 'Nude Descending the Stare Case'. Morante's new, slightly larger than life-size work of art is based on a smaller version of Nude Descending the Stare Case that the artist created in 1993 that was on display in the sculpture park's Water Garden. The smaller sculpture is just over 3 feet tall and cast in bronze. Morante's desire to increase the size of the work to nearly 7 feet was made possible through the use of digital technology wherein computers and specialized software allow artists to laser-scan and digitally enlarge models or smaller works. The digital models are then translated into foam by a state-of-the-art mill -- the finished work retains all of the intricate details of the model while reducing the cost of production and the amount of time it takes to create a large-scale work of art. Morante's sculpture is executed in foam and is finished with LuminOre wherein liquid metal is sprayed onto the sculpted foam resulting in a work that is lightweight and weather durable. 'Nude Descending the Stare Case' was created at the Digital Atelier, a division of the Johnson Atelier in Mercerville, NJ. Morante's female nude is rendered in a classical style. She finds herself situated in an unconventional composition and is seemingly engaged in a rather defining moment. For Morante, the unique placement of the figure is a characteristic feature in many of his works; and likewise, his works demand introspection. In 'Nude Descending the Stare Case', the female figure is shown dismounting the "pedestal" (or wall) upon which she was posing, perhaps claiming her independence and joining the viewer on the ground. The title is a play on words and an allusion to the similarly titled painting by Marcel Duchamp, 'Nude Descending the Staircase'. Moreover, Morante proposes a tongue-in-cheek comment on the traditional objectification of the female nude as portrayed in art and social histories.
14. GFSN1_180822_146.JPG: Wayne Trapp Geometry of the Cosmos, 2005 Wayne Trapp's 'Geometry of the Cosmos' mesmerizes the viewer as the wind blows the circular structure round and round. Reminiscent of the phases of the moon, Trapp's kinetic sculpture changes, yet remains constant -- always returning to the beginning and starting anew. To Trapp, the beauty of the cosmos is in its chaos, and the perfection and completion of the form can be found in the geometry of his artistic creation. Furthermore, the vigorous surface texture of Trapp's stainless steel sculpture alludes to the energy and movement of the artist. This frenzy of creative energy is rooted in Trapp's perception of the passage of time and its relationship to his artistic process. This deep relationship is further revealed in his autobiography, "The Journey of a Sculptor", which is a collection of journal entries, photos, and drawings. Trapp writes: "In art (sculpture and architecture) the creator must go beyond the element of time. He must surpass human emotions and the effect that people and their personalities have on the created piece. Time continues. The time/use factor exists. That is the only reality. Everything changes as a result of this -- everything is created reality. It all happens as a result of time just ‘being'. The inevitability of change results from time happening/passing. The effect of this passing time should be considered in every created piece. A concern for the future must then essentially be the first thought." Trapp's inquisitive and thoughtful nature has propelled him and his career for over 40 years. He has created monumental outdoor sculptures for museums, corporations, and schools as well as smaller scale works for private collections. Ten years ago, Trapp also began to paint in order to express what he could not convey through sculpture. The creative process of painting has provided the artist with an alternative outlet for his creative energy. A prolific artist, Trapp's desire and drive to create is reflected in his story of a fellow sculptor who stopped sculpting due to a lack of finances. His response best encapsulates who he is as an artist, "How can he consider himself an artist? It is inconceivable to me that he couldn't find a scrap of paper and a stub of pencil."
15. GFSN1_180822_163.JPG: Autin Wright Carmelita, 2008 Although primarily an artist who works in stone, Autin Wright has always been open to experimenting with diverse materials. Carmelita is made of fiberglass with an interior structure and LED lighting. At night this work glows and seems to come to life, emerging from the pond in which it is sited.
16. GFSN1_180822_177.JPG: Christopher Cairns Lydia-Mary, 1982-83 'Lydia-Mary' is in part based on a character in the 1930 novel 'Narcissus and Goldmund' by the German author Herman Hesse. Although Christopher Cairns's sculpture is not a direct embodiment of the fictional character in Hesse's novel, 'Lydia-Mary' possesses a complex psyche and embodies the personality of a lovely, yet asphyxiating maternal figure. Sculpted in clay and plaster, and later cast in bronze at the Johnson Atelier, 'Lydia-Mary' was completed in 1983.
17. GFSN1_180822_183.JPG: Hans Van de Bovenkamp Sagg Portal, 2004 'Sagg Portal' was originally on exhibit indoors in the Museum Building for Hans Van de Bovenkamp's one-person exhibition "Menhirs, Dreams, Myths and Deities". Now part of the outdoor collection, the title, 'Sagg Portal', references the artist's hometown, Sagaponack, NY and the neighboring town of Sag Harbor. These towns are connected by a five-mile stretch of road called Sagg Road. These names are of Native American origin, and in a sense, 'Sagg Portal' is a dedication to these early settlers in and around Sagaponack. When asked about the sculpture, Van de Bovenkamp states, "…it is all about time, change, and interconnectedness. The portal, entry, passageway, gate -- you name it, presents the before and after, the past and the future, a right of passage." 'Sagg Portal' reflects the influence of Abstract Expressionist painters Jackson Pollock and Willem de Kooning, both of whom lived on Long Island. One of the primary characteristics of Abstract Expressionism was the application of the paint to the canvas with quick and expressive gestures which resulted in an activated surface. When looking at 'Sagg Portal', one can infer a sense of motion from the wavy stacked forms. The brushed stainless steel heightens the sense of movement and energy in the sculpture. Van de Bovenkamp notes, "stainless steel was selected because of its strength and contemporary appearance, as well as its reflective quality that accentuates its energy and ever-changing appearance as the sun and the moon travel around the piece."
18. GFSN1_180822_192.JPG: Toshiko Takaezu Three Graces, 1994 Drawing inspiration from the natural world and a combination of Eastern and Western techniques and aesthetics, Takaezu crafted a signature vocabulary of ceramic forms. For the most part, her earlier works are wheel thrown, but as she began to envision larger forms, she incorporated hand built techniques in order to transcend the restrictions of the wheel. Her painterly application of glazes acts as a dynamic, visual counterpoint to her meticulously crafted shapes. In regards to her affinity for the clay medium, the artist said, "One of the best things about clay is that I can be completely free and honest with it. And clay responds to me. The clay is alive and even when it is dry, it is still breathing! I can feel the response in my hands, and I don't have to force the clay. The whole process is an interplay between the clay and myself and often the clay has much to say." (The Penland School of Crafts Book of Pottery, New York: Bubbs-Merrill, 1973, p. 145). Many of her pieces remain unnamed; however, she sometimes titled her works according to their inspiration, including the astronomical lore of Egypt, West Africa, and Greek and Roman mythology. Three Graces is a trio of forms that gently swell from their individual cylindrical bases. Cast in bronze from molds made from the original ceramic works, the turning lines from the potter's wheel are still visible. This work is part of a series of larger works completed by the artist after her retirement from the faculty of the Creative Arts Program at Princeton University in 1992. Takaezu took advantage of her larger studio space, bigger kilns, and increased time to experiment with new ideas on a larger scale. "At this point I'm making bigger pieces, over five feet high," she revealed, "about 10 years ago I decided, if I don't make those big pieces now, I'll never do it. I like the idea of going around the piece and glazing--it's almost like dancing."
19. GFSN1_180822_199.JPG: (foreground) Isaac Witkin The Bathers, 1991
20. GFSN1_180822_207.JPG: Marisol General Bronze, 1997 Marisol's works often engage the viewer through humor, which can disguise an underlying political or social commentary. General Bronze was cast and fabricated at the Johnson Atelier Technical Institute of Sculpture from an earlier work, General Plywood. The artist has depicted a haughty, military leader whose image is based upon General Juan Gomez, a Venezuelan dictator. His commanding presence on horseback resembles many other public homages to political figures placed in town squares. However, Marisol has referred to this sculpture as an "anti-monument."
21. GFSN1_180822_215.JPG: Red Grooms Henry Moore in a Sheep Meadow, 2002 'Henry Moore in a Sheep Meadow' is a humorous tribute to the famed English sculptor, who preferred his sculptures (with their horizontal, organic compositions relating to land masses) placed on sites in the rolling contours of the countryside. Some pieces were installed outside of Moore's studio amidst herds of grazing sheep. Here Moore has been metamorphosed into a sculpture resembling his own. This work is a fine example of the many artists, sports figures, tradesmen and others Grooms has portrayed with affection, good humor and respect.
22. GFSN1_180822_230.JPG: Herk Van Tongeren Teatro XI, 1981 Herk Van Tongeren admired the Surrealists, especially Giorgio de Chirico, and he studied the Surrealists' philosophical ideals. This is evident in his sculpture 'Teatro XI', on view in the park, and in 'Teatro XVI'I, part of Grounds For Sculpture's Sculpture Along the Way program. Both works consist of geometrical objects lying in a stage-like setting, and as a result Van Tongeren achieves a false sense of perspective with the placement and sizing of these objects. There is a kind of emotional detachment the artist conveys through the use of monochromatic geometric shapes. Yet, there is also a sense of idealism depicted within the works of art--one can imagine Van Tongeren as an architect sculpting his vision of a futuristic landscape.
23. GFSN1_180822_238.JPG: Elizabeth Strong Cuevas Arch II, 1992 As in the other work by artist Strong-Cuevas on the grounds, 'Arch II' is of a similar motif and displays a clear abstracted facial profile, acquiring a shrine-like quality as it functions as both a frame and a niche. The interior negative space of the arch suggest a kind of spiritual or sublime gateway to the inner world.
24. GFSN1_180822_244.JPG: Zoran Mojsilov Cuckoo's Nest, 1998 'Cuckoo's Nest' is a study of contrasts between the materials utilized, the play of solid areas juxtaposed with voids, and varying technical approaches. The artist has combined multiple pieces of granite, a natural material left in its raw, unfinished state, with smoothed and gleaming industrial steel rods woven into an asymmetrical net-like form. A jagged chunk of stone looks to be stitched to the open steel form at its base, adding further to the illusion that the steel rods are as flexible and easily manipulated as twigs and fibers used in building a nest. Atop the steel structure is a granite boulder situated in a way as to appear to be caught in time as it indents the metal grid. Opposing the open, airy quality of the metal form are the rough stones encased in the structure, their density and weight causing them to settle at the bottom.
25. GFSN1_180822_251.JPG: Barton Rubenstein Harmonize, 2016 "As an artist, I am moved by the possibility of making someone else's life more meaningful, less stressful, or simply bringing out a smile. When I create art, I imagine each of these positive changes beginning a chain reaction of other positive human interactions." Harmonize is a 16 foot high stainless steel wind kinetic sculpture. This sculpture moves in the slightest breeze and has a unique cable system, invented by the artist, which mimics the back-and-forth motion of a waltz. Having focused on the sustainability of the planet for much of his life, Rubenstein is now focused on his most ambitious project to date, to create the "International Symbol of Solidarity for Sustainability." By creating an edition of his large-scale sculpture, the Mother Earth Award ( www.MotherEarthProject.org ), he plans to place this symbol in the capital city of countries that are committed to issues of climate change. His hope is that this symbol will bring pride and incentivize countries to do more toward reaching saving the planet for future generations.
26. GFSN1_180822_258.JPG: ???
27. GFSN1_180822_261.JPG: Jon Lash Today and Tomorrow, 1996 Jon Lash's early works were academic in character and figure based. In the early 1980s, Lash began to explore his fascination with spatial relationships through a series of abstract fabricated, open reliefs, which he later closed in metal box-like frames in order to manipulate composition, space, and balance in the context of two and three dimensions. The surrounding frame and the smooth lines of the rods and geometric forms that penetrate, divide, and control the active, open plane allude to the flat surfaces of Constructivist painting as they defy the boundaries of the traditional relief.
28. GFSN1_180822_265.JPG: Yuyu Yang Dragon's Shrill in the Cosmic Void, 1991 Within his artwork, Yang incorporated symbols of the dragon and the phoenix, as well as the earth and the sky, and other thematic pairs prominent in Chinese philosophy. He used these symbols to display the duplicity and interaction of opposites in nature. To link his pieces more closely to their audience and their surroundings, Yang worked with stainless steel creating mirror-like surfaces which in turn reflect their environment. This is readily apparent in his two works on display at Grounds For Sculpture- 'Lunar Brilliance' and 'Dragon's Shrill in the Cosmic Void'. Yang viewed his sculptures as an event -- an interaction between piece and audience. In reference to one of his New York installations, Yang commented on his own artwork: "My sculptures in general, and stainless steel sculptures in particular, harmonize man and his environment spiritually, mentally, and physically; this is why I call my sculptures lifescapes instead of environmental sculptures." – Quoted in the Introduction, "Simply Put, The Subtle Sculptural Language of Yuyu Yang", catalogue to the exhibition, Dietrich Contemporary Arts, New York, 1994, np. 95, p. F12.
29. GFSN1_180822_271.JPG: Autin Wright Free Form III, 1998 The organic form of 'Free Form III' is based on the leaves of a tulip. Wright states, "I'm interested in simple, basic forms to the minimum needed for the statement I want to make."
30. GFSN1_180822_274.JPG: Anthony Caro Potpourri, 1976-77 'Potpourri', dated 1976-77, is of welded steel assembled with larger horizontal planes in the front leading to a central opening with a multitude of smaller fragments imploding into the composition. The unpainted finish is typical of Caro's work from this period.
31. GFSN1_180822_277.JPG: Bradford Graves Bamboo Night, 1997 Carved in limestone, ‘Bamboo Night' and ‘Hung the Flesh of Living Fish I', are representative of Graves' fascination with archeology and the earth. Both works prompt the viewer to generate a visual interpretation -- an interpretation reinforced by the titles of the works. ‘Bamboo Night ‘evokes the segmented stalk of the bamboo plant, whereas in ‘Hung the Flesh of Living Fish I', the steel slab jarringly interrupts the carved limestone only to further the metaphor of the title. Whether or not these sculptures are intended to suggest such a literal visual interpretation, Graves' works carry a deeper meaning. His sculptures propose a sense of quiet mystery and deep intellectual thought -- to quote Burton Wasserman of Art Matters: "The limestone carvings of Bradford Graves are a celebration of profound perplexity and mystery. They explain themselves neither quickly nor easily. Instead, they invite deliberately paced intellectual search and spiritual speculation… Stimulating the exercise of imagination, the sculptures challenge to invent their own relevant meanings…these silent pieces of chiseled rock plumb the sublime." – Burton Wasserman, Art Matters, May 1996. Source: http://www.bradfordgraves.com/pres_more.html (Aug. 6 2006).
32. GFSN1_180822_285.JPG: Joseph Howard Floating Arrangement, 1992 Howard's sculptures, while reminiscent of a human form, are more than that; they represent "human-ness." Minimal in detail, these works represent contemplation as well as a universality of soul. Rendering such thought-provoking concepts in the least possible particulars illustrate the artist's sensitivity to communicating complex ideas in a simple yet elegant sculptural style.
33. GFSN1_180822_289.JPG: Bradford Graves Hung the Flesh of Living Fish I, 1992 Carved in limestone, ‘Bamboo Night' and ‘Hung the Flesh of Living Fish I', are representative of Graves' fascination with archeology and the earth. Both works prompt the viewer to generate a visual interpretation -- an interpretation reinforced by the titles of the works. ‘Bamboo Night ‘evokes the segmented stalk of the bamboo plant, whereas in ‘Hung the Flesh of Living Fish I', the steel slab jarringly interrupts the carved limestone only to further the metaphor of the title. Whether or not these sculptures are intended to suggest such a literal visual interpretation, Graves' works carry a deeper meaning. His sculptures propose a sense of quiet mystery and deep intellectual thought -- to quote Burton Wasserman of Art Matters: "The limestone carvings of Bradford Graves are a celebration of profound perplexity and mystery. They explain themselves neither quickly nor easily. Instead, they invite deliberately paced intellectual search and spiritual speculation… Stimulating the exercise of imagination, the sculptures challenge to invent their own relevant meanings…these silent pieces of chiseled rock plumb the sublime." – Burton Wasserman, Art Matters, May 1996. Source: http://www.bradfordgraves.com/pres_more.html (Aug. 6 2006).
34. GFSN1_180822_293.JPG: Magdalena Abakanowicz Sage B, 1990 Magdalena Abakanowicz Sage, 1988 'Sage' and 'Sage B', both cast in bronze, are on view in the Water Garden. Abakanowicz's 'Sage B' was shown previously at Grounds For Sculpture in 1993 in celebration of the opening of the main exhibition building. The sculpture that inspired the Sage cycle is entitled 'Figure on an Iron Seat', which depicts a seated adult form made from burlap. It was created by Abakanowicz in 1988, a period when the artist was also concentrating on multiple burlap castings of adolescent figures. When realized in bronze, the form was simplified--the hands placed on the figure's lap melded into the knees and as a whole the figure became more abstract and monolithic. As in all of Abakanowicz's works, each 'Sage' is a unique casting, and evidence of the ceramic shell from the casting process is allowed to remain on the roughly textured surface; no polishing or patinating process is performed. The placement of the headless 'Sage' and 'Sage B' on high, stepped blocks creates a physical and psychological distance between the seated figures and the viewer.
35. GFSN1_180822_301.JPG: Kiki Smith Untitled, 2006 Nestled in the Water Garden amongst the mist and vegetation is a sculpture by Kiki Smith that is evocative of the artist's personality and body of work. Cast in bronze and a fountain of sorts, the sculpture depicts a woman crouching -- caught in a private moment. Upon discovering Smith's sculpture the viewer may at first be taken aback by the nature of the moment -- some will find the work humorous whereas others will call it scandalous. Whatever the viewer's reaction to Smith's sculpture, the work of art is in keeping with the artist's mysterious sense of humor and artistic nuance. To quote Chuck Close, Smith's "work is the epitome of innovation, invention, and unique personal vision," and furthermore "always diverse…by turns magical, quirky, sexy, humorous, poignant, scatological and mesmerizing." – Chuck Close, "Time 100: The People Who Shape Our World, Kiki Smith," Time, 8 May 2006. Source: http://www.time.com/time/magazine/article/0,9171,1187302,00.html (14 July 2006).
36. GFSN1_180822_308.JPG: Beverly Pepper Untitled, ca. 1968 In contrast to her later works, Beverly Pepper's earlier works often focused on the use of highly reflective surfaces, as in the reflective 'Untitled' on view in the Water Garden. Composed of hollow blocks, the exteriors are polished to a mirror-like sheen denying the three-dimensionality of the material, while the open, visible interiors are painted in dark hues to appear solid. This ephemeral tie to the sculpture's surrounding environment--the mirrored image--foretells of Pepper's later earthworks in which the sculpture is physically connected to the site.
37. GFSN1_180822_312.JPG: Jeffrey Maron Padma's Dream, 2001 'Jeffrey Maron: Sculpture and Paintings' was one of the Fall/Winter 2001/02 Exhibitions at Grounds For Sculpture. On view in the Domestic Arts Building were seventeen of Maron's sculptures and ten of his paintings, including the diptych 'Padma's Dream'. As with many of the works in this artist's ouevre, the subject matter for 'Padma's Dream' was inspired by his interest in various cultures and religious beliefs, including pre-Columbian civilizations, Buddhism, Hinduism, and the practice of Yoga. The paintings by Maron are actually made of etched copper alloy plates, with the delicate surface colors achieved through the application of crystalline oxides. The colors are determined by both the degree to which the metal is heated and the selection of oxides or salts. Increasing the number of oxide applications can create opacity and deepen coloration. Maron has spent many years perfecting this technique.
38. GFSN1_180822_317.JPG: Itzik Benshalom Facing Couple, 1999 'Facing Couple' is an impressive example of abstracted human figures imbued with emotive undertones. This large-scale cast bronze is composed in a manner that is reminiscent of the volumetric, biomorphic works by Henry Moore
39. GFSN1_180822_341.JPG: Susan Crowder Footpath, 1982 After the Fall/Winter 1997/98 Exhibition at Grounds For Sculpture, 'Footpath' was moved from the Domestic Arts Building to its present location in the Water Garden. Not only has the site of the sculpture changed, but the presentation has as well. Formerly, the four marble elements were placed on the floor amongst worn river rocks that formed an imaginary stream bed. The smooth grey blocks are now set in water, which ripples gently past the sculpture as it flows through the length of the garden. As implied in its title, the work symbolizes transition, a walkway to lead the viewer from one space to another, either in a literal or figurative sense. Footpath marks both a culmination and precedence in this artist's body of work; it is Crowder's last completed sculpture realized in marble. Its architectural design and scale signal the development of the artist's later site-specific, temporal installations.
40. GFSN1_180822_362.JPG: Autin Wright The Sleep, 1996 This work by Autin Wright is on display in the Water Garden. 'The Sleep' displays four consecutive expressions of a face in the act of going to sleep. Wright emphasizes the lips and one eye in his piece. With this three-dimensional image of time, he shows the lips, as they start to relax, and the eye, as it slowly shuts. Quintessential to his work, Wright's forms are smooth and pure, and his surfaces are simple. In 'The Sleep', his transitions are subtle and natural. There are two meanings that can be extracted from this pwork--the literal definition of sleep and the symbolic connotation of death. The dark surface of the piece helps promote both of these interpretations.
41. GFSN1_180822_366.JPG: Stephen Knapp Temple Talisman, 1991 'Temple Talisman' was on view in the Museum Building as part of Glass: A Group Exhibition, which took place in the Fall/Winter Exhibition of 1998/99. The work is now installed in the Water Garden. Knapp created the upright shield-like form from kiln-formed glass, a process in which a sheet of glass is heated to a high enough temperature to cause it to slump or sag over underlying molds. The result is a bas-relief pattern, smooth on one side and textured on the other, as seen in Temple Talisman. The shape of the glass element and the raised designs were inspired by motifs found in artifacts from ancient civilizations. The swaths of bright primary colors enliven the sculpture and are set off against the transparency of the glass. A section of die-cut industrial steel with its repetitive triangular openings forms the base of the work. This industrial age material creates a counterpoint to the artist's allusions to ancient times.
42. GFSN1_180822_376.JPG: Lynden Cline Several Months Before You Were Born, I Married a Man Who Wasn't Your Father, 2002 Lynden Cline's works are highly personal – the very act of creating them is emotionally draining and painful as she reaches deep within to extract the catalyst and content for each piece. Family relationships are a recurring theme as Cline tries to reconcile the issues and ramifications of not knowing her biological parents, and of being adopted. "I work from the heart. I frequently cry…I am so overwhelmed by the process, as I am overwhelmed by the reaction people have to my work." The evocative titles she assigns to her works are meant to give clues to reading her work. In Several months before you were born, I married a man who wasn't your father, Cline was reacting to a true statement made by her biological mother and reported to her by a social worker. About the symbolism included in the sculpture, Cline stated, "The four chairs in the piece represent the people involved."
43. GFSN1_180822_391.JPG: Bob Fisher Windjammer, 1998 'Windjammer' moved to the sculpture park from the Pier Walk '98 exhibition, an annual outdoor sculpture exhibition in Chicago, IL. The stainless steel, geometric sculpture flutters fifteen feet high off the ground, held in position by fiberglass masts. The work's repetitive grid structure with attached, precisely cut triangles designed to interact with the environment hints at Rob Fisher's Master's degree in industrial design. His interest in technology led Fisher to design many interdisciplinary multimedia projects. Likewise during his lifetime, Fisher taught several courses encompassing the disciplines of art and technology on the college level.
44. GFSN1_180822_393.JPG: Lynden Cline Several Months Before You Were Born, I Married a Man Who Wasn't Your Father, 2002 Lynden Cline's works are highly personal – the very act of creating them is emotionally draining and painful as she reaches deep within to extract the catalyst and content for each piece. Family relationships are a recurring theme as Cline tries to reconcile the issues and ramifications of not knowing her biological parents, and of being adopted. "I work from the heart. I frequently cry…I am so overwhelmed by the process, as I am overwhelmed by the reaction people have to my work." The evocative titles she assigns to her works are meant to give clues to reading her work. In Several months before you were born, I married a man who wasn't your father, Cline was reacting to a true statement made by her biological mother and reported to her by a social worker. About the symbolism included in the sculpture, Cline stated, "The four chairs in the piece represent the people involved."
45. GFSN1_180822_395.JPG: Pat Musick Grupo, 2002-2003 This work is a study in contrasting materials and textures. The combination of the egg-like stone forms, worn smooth by years of erosion, with the hardened steel bands that encircle these stones, fashioned through man-made process, creates a balance and a sense of restraint. The six elements are gathered into a group that emits a quiet stillness. In the artist's words, "The valley I live in is the context for the work. It is a place for dialogue with ancient stones and trees. These materials are interwoven with the man-made medium--steel--to form a union of wholeness. My metaphor for the way it should be."
46. GFSN1_180822_401.JPG: Jon Lash Frame Construction #5, 1994 'Frame Construction #5', abstract in nature, combines painting with sculpture. Jon Lash's objects float weightlessly in and out defying gravity. The artist works with positive and negative space, trying to control it in this piece through the use of a faux-wood open structure. One can see how Lash plays strongly on volume--using two-dimensional planes to create three-dimensional volumes. Highly influenced by both the Cubists and Russian Constructivists, he tries to find order in chaos. Lash draws upon both nature and spirituality, as evidenced through the colors he uses and his choice of composition. Lash states, "All art is a kind of religious experience, most often rooted in nature".
47. GFSN1_180822_415.JPG: ???
48. GFSN1_180822_428.JPG: Frederick Morante Relative, 2003 Morante's sculptures often deal with solitary figures, rendered in a classical style but placed in unconventional compositions and seemingly engaged in defining moments. 'Relative', a title that indicates multiple meanings, is made of two identical male figures cast from the same mold and mounted horizontally on opposite sides of a steel post. The ground plane is flipped on its side and the contemplative figures do not mirror each other, posing questions about perspective, both literal and philosophical.
49. GFSN1_180822_437.JPG: Brower Hatcher Time Reversing, 1991
50. GFSN1_180822_451.JPG: Sharon Loper Interior #5: Isolation, 2000 The cast bronze by Sharon Loper, 'Interior #5: Isolation', is an expressive, psychological study of a nude female figure. Communicating through body language, the work depicts a thin woman emotionally and physically withdrawn, folded and crouched down in an introspective manner. The shifting, scintillating play of light on the varying textures and patinas activate the surface of the sculpture. The tactile quality tells of the artist's classical training and traditional additive technique, one building upon a wire armature with softened, malleable clay, while the grace and quiet of the finished form speaks poetically. Through gesture and stance, Loper's work conveys universal humanistic statements.
51. GFSN1_180822_470.JPG: Autin Wright The Sleep, 1996 This work by Autin Wright is on display in the Water Garden. 'The Sleep' displays four consecutive expressions of a face in the act of going to sleep. Wright emphasizes the lips and one eye in his piece. With this three-dimensional image of time, he shows the lips, as they start to relax, and the eye, as it slowly shuts. Quintessential to his work, Wright's forms are smooth and pure, and his surfaces are simple. In 'The Sleep', his transitions are subtle and natural. There are two meanings that can be extracted from this pwork--the literal definition of sleep and the symbolic connotation of death. The dark surface of the piece helps promote both of these interpretations.
52. GFSN1_180822_477.JPG: Fletcher Benton Folded Circle Ring, 1989
53. GFSN1_180822_481.JPG: Bill Barrett Efflorescence, 1995 As seen in 'Efflorescence', Barrett explores form in space with an elegant fluidity that belies the cold and rigid properties of metal. He composes his sculptures to be read simultaneously on multiple levels--calligraphic strokes become thick, intersecting metal planes that wend and fold into biomorphic forms captured at a moment of exacting, poised balance and presented in an orchestration of grace and harmony. Contributing to this harmony are the synergies formed by implied and arrested movement and by the interplay of positive and negative space.
54. GFSN1_180822_487.JPG: John Ruppert Pumpkins, 1999 "'Pumpkins' are a symbol of the harvest and American agriculture. Carefully bred and nurtured during the growing season, certain varieties have the ability to grow to giant proportions, and as a result, fierce growing competitions have evolved nation wide. My 'Pumpkin Series' is a product of this hybridization process, cast from an original prize winning 700 lb pumpkin. It is oversized, burdened by its own weight to the point of exploding. Its size animates it, giving it an anthropomorphic presence, amplifying its fertile qualities. The cast 'Pumpkin' is a culmination of efforts and imagery. The hybridization is a result of efforts to control nature through agriculture, while the casting is a product of industry revealing the presence of natural forces caught in a frozen moment. The lightweight aluminum, referencing flight, is a contradiction to the pumpkins gravity-burdened form. 'Pumpkin Series' is an open-ended edition in reference to the agricultural industry's desire for creating multiples through hybridization or the cloning process. It is my intention to create many pumpkins for a variety of locations. When experiencing one grouping you will know there are others and that each isolated group is part of a greater collective." – John Ruppert, from his Artist Statement
55. GFSN1_180822_496.JPG: Peter Woytuk Bull #4, 2002 Peter Woytuk Bull #5, 2002 Peter Woytuk finds natural forms to be "highly fertile ground, suggesting endless possibilities for sculptural interpretation and invention." Animals as subject matter create opportunities for the artist to delve into the elements of form, color, and texture as well as character. Gently resting in the green, grassy field, adjacent to the Water Garden, Woytuk's Bull (#4) and Bull (#5) have been part of Grounds For Sculpture's Collection since 2004. Animals, such as the bull, interest Woytuk. He enhances their "sprawl of mass" by making them even more broad and colossal. Bull (#4) and Bull (#5) command space with their complicit spreading girth and their calm stately presence. By placing the animals in groupings, a relationship between the animals develops, and the environment--the space surrounding the sculptures--becomes important. Woytuk considers the groupings to be "one unified sculpture that the viewer is able to walk around and within." In this way, he creates a sense of place that would not exist with one lone sculpture.
56. GFSN1_180822_512.JPG: Bernar Venet Arcs in Disorder: 4 Arcs x 5, 2002
57. GFSN1_180822_523.JPG: Michael Rees...
58. GFSN1_180822_527.JPG: ???
59. GFSN1_180822_546.JPG: William Donnan Pinched, 1998 This work by William Donnan, an artist from North Carolina, came to Grounds For Sculpture from Pier Walk '98 in Chicago. 'Pinched', made from reinforced cement, is an abstract sculpture with a monochromatic brown pigmented finish that acts to unify the whole. The overall striated texture also forms a continuity throughout its surface. Solid, asymmetrical and angular sections appear to be stacked at one end of the work, and this dominant vertical section is counterbalanced by a thin cantilevered element. This horizontal thrust creates a tension between the plane of the ground and the sculpture, and another between the two divergent major components of the work.
60. GFSN1_180822_563.JPG: ???
61. GFSN1_180822_571.JPG: Steve Tobin Untitled (Steelroots), 2009
62. GFSN2_180822_005.JPG: Nina Levy Centaur, 1998 A centaur in Greek mythology was portrayed as a monster--half man and half horse. The 'Centaur' created by Nina Levy is also an anomaly, but a recombination of portions of the human figure. The top half is female, the bottom is male, and the whole is entrapped in a confining, steel cage. The differences between the two figurative halves and their respective allusions to sexual associations and symbolic polar opposition is accentuated through the artist's use of scale and color. The female, upper section is an acid green and close to life-size, while the purple male portion extending from the waist down is much larger, bulkier, and imposing. The fiberglass sculpture is fraught with underlying tensions between the male and female representations brought together in one body.
63. GFSN2_180822_019.JPG: Work in Progress The artist is experimenting with assistance of The Seward Johnson Atelier on a new surface finishing technique. The final form will have a reflective surface which allows the viewer and the natural surroundings to be part of and interact with the form. More information on the artist, E. Calder Powel and the Big Perception Plane (Inspired by the Whitney Umbrella) can be found at www.ecalderpowel.com
64. GFSN2_180822_022.JPG: ???
65. GFSN2_180822_028.JPG: Benar Venet 81.5 degree Arc x 8 (Vertical Arcs), 2004-2012
66. GFSN2_180822_040.JPG: Linda Fleming Ex-halations, 2005 While the visitor may instantly recognize one of the sculptural steel elements of 'Ex-halations' as a bed, the larger adjacent structure, resembling an intricate scissor-cut design, generates many imaginative interpretations. Read as a whole, the work invites one to weave a personal tale – a story that perhaps speculates at the relationship between the two physically seperate structures comprising 'Ex-halations'. As one continues to explore Fleming's work of art, the visitor is not only asked to contemplate its meaning, but is urged to appreciate the rich and beautiful patina resulting from the natural oxidation of untreated steel. ' Ex-halations is part of a series of works that give form to the intangible. The structure mimics the motion of air and evokes the cosmologic scale of an exploding binary star or the sharing of cosmic particles we experience through breathing. The bed brings an object of everyday life into juxtaposition with abstract human thought, suggesting the coexistence of multiple realities. It is also the vehicle we use to enter the subconscious.' ? Linda Fleming
67. GFSN2_180822_048.JPG: William Donnan Pinched, 1998 This work by William Donnan, an artist from North Carolina, came to Grounds For Sculpture from Pier Walk '98 in Chicago. 'Pinched', made from reinforced cement, is an abstract sculpture with a monochromatic brown pigmented finish that acts to unify the whole. The overall striated texture also forms a continuity throughout its surface. Solid, asymmetrical and angular sections appear to be stacked at one end of the work, and this dominant vertical section is counterbalanced by a thin cantilevered element. This horizontal thrust creates a tension between the plane of the ground and the sculpture, and another between the two divergent major components of the work.
68. GFSN2_180822_058.JPG: ???
69. GFSN2_180822_066.JPG: ???
70. GFSN2_180822_074.JPG: Marisol General Bronze, 1997 Marisol's works often engage the viewer through humor, which can disguise an underlying political or social commentary. General Bronze was cast and fabricated at the Johnson Atelier Technical Institute of Sculpture from an earlier work, General Plywood. The artist has depicted a haughty, military leader whose image is based upon General Juan Gomez, a Venezuelan dictator. His commanding presence on horseback resembles many other public homages to political figures placed in town squares. However, Marisol has referred to this sculpture as an "anti-monument."
71. GFSN2_180822_077.JPG: Red Grooms Henry Moore in a Sheep Meadow, 2002 'Henry Moore in a Sheep Meadow' is a humorous tribute to the famed English sculptor, who preferred his sculptures (with their horizontal, organic compositions relating to land masses) placed on sites in the rolling contours of the countryside. Some pieces were installed outside of Moore's studio amidst herds of grazing sheep. Here Moore has been metamorphosed into a sculpture resembling his own. This work is a fine example of the many artists, sports figures, tradesmen and others Grooms has portrayed with affection, good humor and respect.
72. GFSN2_180822_088.JPG: Herk Van Tongeren Teatro XI, 1981 Herk Van Tongeren admired the Surrealists, especially Giorgio de Chirico, and he studied the Surrealists' philosophical ideals. This is evident in his sculpture 'Teatro XI', on view in the park, and in 'Teatro XVI'I, part of Grounds For Sculpture's Sculpture Along the Way program. Both works consist of geometrical objects lying in a stage-like setting, and as a result Van Tongeren achieves a false sense of perspective with the placement and sizing of these objects. There is a kind of emotional detachment the artist conveys through the use of monochromatic geometric shapes. Yet, there is also a sense of idealism depicted within the works of art--one can imagine Van Tongeren as an architect sculpting his vision of a futuristic landscape.
73. GFSN2_180822_090.JPG: Joel Perlman Tabletop I, 1995 Whereas 'Red Diamond', 'Southern Star', and 'High Spirit' create voids portal-like voids, in 'Tabletop I', fragments of metal are welded together on an I-beam pedestal framing a window of open space.
74. GFSN2_180822_095.JPG: Barry Parker Lamentations, 1993
75. GFSN2_180822_104.JPG: Michael Shewmaker Vita, 2014
76. GFSN2_180822_114.JPG: Harry Gordon Enki, 2001 (another sign says 2007)
77. GFSN2_180822_119.JPG: Peter Lundberg Where is Geometry?, 1999 Completed in early 1999,' Where is Geometry?' is considered by the artist to be his best sculpture to date. This piece further continues the artist's exploration of creating large-scale works in stainless steel and concrete in which he addresses variations of circular contortions. Stainless steel lines the inner sides of the rings that are joined together into a single unit, and the exterior portions have been built up with concrete. The silver of the metal and the gray of concrete meld into one somber monochromatic hue, while differing textures and reflective qualities accentuate the inherent properties of each individual material. The smooth, metal surfaces are enlivened with an overall pattern of calligraphic swirls produced with a grinder. Depending upon the medium and treatment, sunlight is either captured or reflected off of the surface areas in varying degrees. The heavy massiveness of this sculpture made from non-traditional materials is lightened by the open areas and by the illusion that the smaller, inner circle, attached at only one point, defies gravity and remains suspended.
78. GFSN2_180822_121.JPG: Benbow Bullock Pillars of Hercules, 1995 His most recent pieces are simplified geometric constructions in steel, painted in brilliant primary and secondary colors. In 'Pillars of Hercules' (1995) each element composing the triptych is eight feet high with geometric cut-outs atop a tubular column. The title refers to the labors performed by Hercules, the Greek mythological hero, and the promontories named for him that flank the eastern entrance to the Straits of Gibraltar.
79. GFSN2_180822_135.JPG: James Surls Standing Vase with Five Flowers, 2011 Growing up among the trees of eastern Texas, he played for hours in the woods and forests. His attraction to and affinity for nature and its beauty are evident in his work. More profoundly, though, they speak about the man himself. Surls' works are often based on objects and symbols that are made to take on the shapes of human or other life forms. Expressionist in style, his tall metal sculptures stand majestically against the sky. His simplified wood pieces seem rough-hewn and na�ve, cloaking his great skill as a craftsman. More than most artists, Surls's work is a self portrait, not in detail but in soul.
80. GFSN2_180822_143.JPG: John Van Alstine Stone Pile, 1980 According to the artist, the sculpture 'Stone Pile' was influenced by the Western landscape in which he was living at the time of its creation. Sedimentary stone, that formed layers over millions of years, was abundant in this area. Van Alstine stacked layers of Colorado flagstone to echo and reiterate the nature of the material and how it came to existence. Van Alstine also relates the sculpture to the human impulse to stack for storing, moving, counting, and building.
81. GFSN2_180822_146.JPG: John Newman Skyhook, 1998 'Skyhook', standing an impressive twenty-feet high, was commissioned for Grounds For Sculpture and made at the Johnson Atelier Technical Institute of Sculpture in 1998. It has become a signature work in the park. The aesthetically pleasing organic curves of the s-shaped "hook" and surrounding bit of "sky" merge with high-tech materials and structure. Stones fill the bottom half of the S, serving as weights, while the hovering form, in a further play of weight and balance, is tethered to the ground by a telephone pole and cables.
82. GFSN2_180822_153.JPG: Isaac Witkin Garden State, 1997 'Garden State', a later example of Witkin's stone sculptures -- cut from massive blocks of black granite imported from Zimbabwe -- was commissioned by Grounds For Sculpture in 1997. The sculpture is an impressive 19 feet tall and weighs approximately 75 tons. The design of this work is based on one of the artist's smaller-scale works in bronze. During the creation of this piece, Witkin built a full-scale model using styrofoam blocks to address the issues of scale, balance, and engineering before cutting into stone.
83. GFSN2_180822_157.JPG: Jay Wholley La Casa de Bernarda Alba, 2001 The forms, imagery, and casting techniques seen in Jay Wholley's works are influenced by his interrelated interests in Mayan and Celtic cultures, and the geophysical processes that occur deep within the core of the earth. His sculptures metaphorically reflect the extraordinary magnitude of natural forces, as well as the history of various civilizations' attempts to understand and integrate their existence with the surrounding power and mystery of the natural environment. The fissures, cracks and other "imperfections" link the casting process with those physical occurrences taking place under the earth's crust, beyond man's control. The title of 'La Casa de Bernada Alba' refers to a play by the Spanish author Federico Garcia Lorca. The architectonic composition of this bronze work presents a contrast between slick, highly polished reflective surfaces and textured areas that are burnt and eroded in appearance, while also setting forth a metaphor representing the internal crumbling structure of the seven women in the play.
84. GFSN2_180822_161.JPG: Ernest Shaw Sumo, 1994 Shaw's 'Sumo' was one of nineteen sculptures from the Philip and Muriel Berman Collection exhibited at Grounds For Sculpture during the Spring/Summer 1995/96 Exhibition. Now part of the outdoor collection at Grounds For Sculpture, the large sections of Blue Mountain granite, that seem to reflect the natural breaks in the stone, are pieced together using fitted slots. The heavy mass and horizontal expanse of 'Sumo' combine architectural structure with figurative composition to produce a monumental aesthetic both human and totemic. This work invokes the presence of a sumo wrestler, inviting and imposing in nature.
85. GFSN2_180822_167.JPG: Walter Dusenbery Tempio Bretton, 1981 'Tempio Bretton', in Peruvian yellow travertine, pays homage to the celebrated Capability Brown, a well-known English garden designer. It was made specifically for the occasion of an exhibition at Bretton Hall in Yorkshire Sculpture Park--a park laid out in the style of this master. Garden follies were often constructed to mimic the ruins of classical temples. The works were sited in the landscape to form a focal point in the greenery and to indicate a depth of space, while also presenting a relationship between an historic past and present surroundings. Dusenbery's aim was to reduce the stone structure in scale to the point where architecture and sculpture merge.
86. GFSN2_180822_173.JPG: Itzik Benshalom First Love, 2006 The characteristic quality of Benshalom's work, the sense of closeness and personal interaction, is strongly expressed in his cast bronze sculpture, 'First Love'. Perched atop a stucco wall, the two figures are engaged in an intimate moment unaware of their surroundings and solely focusing their attention on one another. Like a number of Benshalom's sculptures, 'First Love' portrays the compelling and fundamental human emotion of love. In 2005, Benshalom was given a one-person show at Grounds For Sculpture, which included 25 large to small scale sculptures cast in bronze and fiberglass.
87. GFSN2_180822_181.JPG: Sarah Haviland Trio, 2002 On first impression, Sarah Haviland's 'Trio' presents a powerful image of a twisting tree, or perhaps an open hand. But the sense of human gesture the piece embodies finally draws attention to three entwined female figures, torsos curving, arms reaching to the sky. Like Haviland's previous work, Trio's abstract-figurative form offers a quality of movement from a still center, reminiscent of a dance by Martha Graham. As the artist states, "My sculptures seek a balance between abstract form and human identity, between the physical body and spiritual presence."
88. GFSN2_180822_185.JPG: Elizabeth Strong-Cuevas Arch II, Set II, 1995 Like 'Two Face Telescope', 'Arch II, Set II' also features a double portrait, but unlike Two Face Telescope, these profiles lack a physical connective element. The proximity of these twin forms initially integrates the disparate structures, but ultimately the space between them is irreconcilable. Her formal pairs of profiles articulate the psychodynamic drama of human relationships, specifically, the encounter of external others and between internal others. It is this visual and psychological dialogue that lends complexity and a strange intensity to her work. 'Arch II, Set II' is part of a series of Arches grouped in sets one through five dating between 1985 and 1995. In these monumental works, the profile acquires a shrine-like quality as it functions as both a frame and a niche. The interior negative space of the Arches suggest a kind of spiritual or sublime gateway to the inner world
89. GFSN2_180822_188.JPG: Gyuri Hollosy Kathy B, 1994 As a sculptor Gyuri Holl�sy has been endlessly captivated with exploring and developing new approaches to the classical human figure, specifically the female form. Holl�sy's love and fascination with Medieval armor has subconsciously influenced him over the years. This influence has led Holl�sy to discover a new sculptural approach that has emerged and evolved into what he describes as a "strongly delicate, unique and personal style." Although hollow and suggestive of a shell structure, Holl�sy's figures still retain strength in form and gesture. Thin overlapping pieces of cast metal are reminiscent of armor plates and allow the viewer to experience the juxtaposition of the interior and exterior spaces. Holl�sy's unique technique merges the traditional figure with historical references to Medieval armor resulting in an elegantly abstracted yet recognizable figure. He notes that with 'Kathy B', the unique positioning of the torso allowed him "to portray a wide spectrum of human emotion through a dancer's gestures, lines and position." The artist also states, "The female figure is important, as it is through this muse that I find the grace and fluidity of the form."
90. GFSN2_180822_190.JPG: Toni Putnam Sacred Grove, 1996
91. GFSN2_180822_204.JPG: Alexander Rutsch Dancers, 1997 Rutsch approached his work with open, inquisitive eyes and a poetic hand constantly searching for rhythms of form and vibrations of color. His body of work including sculpture, painting, drawing, and printing presents a stylistic fusion of Expressionism, Cubism, Dada, Fauvism, Cobra, and Primitivism. Rutsch looked to dreams, memories, sounds, numbers, and objects in his surroundings for inspiration. He firmly believed that art transcends all of our humanity. Averse to politics, "profound symbolism," and interpretation, he embraced and surrendered himself to the creative process. Additionally, Rutsch often recycled materials and incorporated "found" objects into his sculptural constructions. 'Dancers', installed in the sculpture park, was cast in bronze from an original work in wood. Using sections of tree trunks and limbs, Rutsch assembled them to form two lively linear figures, moving in space. The airy grace and wit of the 'Dancers' celebrates life and nature as it evokes multiple folkloric and mythological references.
92. GFSN2_180822_211.JPG: Kenneth Payne Spector, 1997 Made in the artist's studio in Buffalo, New York, 'Spector 'was first exhibited during the Third International Conference on Contemporary Cast Iron Art held at Grounds For Sculpture in April of 1998. The work is now part of the collection on view at Grounds For Sculpture. The irregular form tapers upward from a block-like base, then becomes rounder and fuller, a composition that plays with the viewer's perception of the work. This illusion of floating upward, like a drifting puff of smoke, suggests a sculpture that is flowing and light, when in actuality it is made from a heavy, dense metal. Left in its natural state, the iron has rusted to form a velvety, rich orange-brown finish. 'Spector' was made from cast iron using the lost wax technique.
93. GFSN2_180822_216.JPG: Joan Danziger October Gathering, 2001 October Gathering was a mixed media work exhibited in The Sculptors Guild group exhibition held at Grounds For Sculpture in the summer of 1999. The work that now appears in the collection is a cast bronze edition of the original mixed media sculpture, created at the Johnson Atelier. Joan Danziger's Mythic Landscapes series evoke mysterious and poetic worlds. These sculptures are imaginative inventions that draw upon her fascination with dream imagery and metamorphosis. In October Gathering, the human and animal figures inhabit a fairy tale forest setting which seems to be the stage for a magical ritual. The combination of human and animal forms, and the dramatic play with scale, are common themes in Danziger's works.
94. GFSN2_180822_229.JPG: Hyung Jun Yum Monkey King, 2002 Hyung Jun Yum first created 'Monkey King' in 2002 in plaster with its textured surface painted black, white and red. Later that year the imposing figure was cast in bronze and the patina chosen to mimic the colors of the original. The subject of this sculpture is based upon a sixteenth-century Chinese folk tale by Wu Cheng-en. The story chronicles the Monkey, born from stone, who later becomes a master of Taoist mysticism with skills to match the powers that rule in heaven. Monkey King stands guard at the entrance to the mirrored tunnel in a room formed by shrubs and grasses to be "discovered" by visitors strolling through the park.
95. GFSN2_180822_233.JPG: Brower Hatcher Fan, 1999 'Fan' is characteristic of Brower Hatcher's linear style, building mixed media into a complex architecture of interwoven parts. Previously on view in the exhibition 'Elements', one of the Fall/Winter 2000/2001 exhibitions, 'Fan' is now installed in the park and part of the outdoor collection.
96. GFSN2_180822_238.JPG: Brower Hatcher Tower, 1999 'Tower' is characteristic of Brower Hatcher's linear style, building mixed media into a complex architecture of interwoven parts. Previously on view in the exhibition 'Elements', one of the Fall/Winter 2000/2001 exhibitions, 'Tower' is now installed in the park and part of the outdoor collection.
97. GFSN2_180822_241.JPG: Brower Hatcher Wave, 1999
98. GFSN2_180822_249.JPG: Larry Steele Shiva, 1991 Cast iron and steel are combined to form the abstract and asymmetrical 'Shiva' by Larry Steele. Linear industrial steel elements, some bent and twisted, contrast with the open curved shapes and pitted surface of the cast iron portion. The undulating loops are set forth with a diagonal thrust, yet are balanced by the supportive lower structure. As a whole, the airiness of the composition lightens the sculpture and activates the surrounding space. According to the artist, the sensuous energetic forms are derived from those of plants or animals, and the more structured areas are based upon architectural sources. The dynamic play between the two evokes "a spatial ballet." This work is one of a series of cast iron sculptures made by Steele between 1988 and 1992.
99. GFSN2_180822_252.JPG: Viktor Birth of the Messenger, 1998
100. GFSN2_180822_263.JPG: Ronald Young Untitled, 1981 Ron Young is well-known for his fascination with Pre-Colombian cultures that manifests in his work. His art becomes a metaphor between the past and the present, a sculptural meditation upon the relevance of Mayan culture in current society. Incorporated in Young's work are Mayan architectural symbols, weapons, and art. Three-dimensional objects are also included on the canvases which depict Mayan mythology. The majority of his work is cast bronze and aluminum with wood, stone, and resin. Each sculpture and painting contains a real piece of the past.
101. GFSN2_180822_267.JPG: Walter Dusenbery Haystack, 1977
102. GFSN2_180822_271.JPG: Jim Huntington Ripper/Body Bone, 1993-96 The challenge Jim Huntington sets forth for himself as an artist is to maintain the inherent qualities of the medium, while imbuing his sculptures with metamorphic representations of intangible human emotions. He often juxtaposes two sculptural elements, not always made of the same materials. Large sculptures from the 1980s contrasted angular sheets of metal with rough, minimally worked, massive stone pieces. Those from the next decade paired organic stone forms with thin curvilinear lengths of tree branches stripped of their bark. In 'Ripper/Body Bone' stone is countered by stone - two autonomous, anthropomorphic forms placed in harmonious balance. This work, made from granite quarried in Pennsylvania, belongs to Huntington's 'Imaginal Body Series'. According to the artist, the series is distinguished by its "referential content of ambiguous bodies that are sometimes seen as human, sometimes animal, sometimes other more esoteric forms." The intent is to offer a poetic, but plastic presence that will provoke each viewer's own interpretation and experiences and personal vision.
103. GFSN2_180822_276.JPG: Robert Ressler Wave Hill, 2000 'Wave Hill' was cast in bronze at the former Johnson Atelier Technical Institute of Sculpture from the original wood sculpture of the same name. The tall, tapering, long-necked vessel form is one that fascinates Ressler, as he has created many other works of that genre in carved wood, and in a range of sizes. The artist recognizes the associations that these vessels have with female imagery and energy.
104. GFSN2_180822_286.JPG: Forest of the Subconscious
105. GFSN2_180822_291.JPG: Gloria Vanderbilt Heart's Desire, 2008 "As you look at Heart's Desire, project yourself into the fairy tale world of Dream Box. What it means to me may not be what it means to you…that you will have to discover for yourself." – Gloria Vanderbilt. Vanderbilt began her series of Plexiglas constructions, entitled 'Dream Boxes' in 1996 after she started having "interesting dreams which related to objects that she came upon in flea markets…" She would bring the objects to the studio and "assembled the dreams into some kind of order in Plexiglas boxes so that they told a story…" These works are incredibly beautiful yet slightly disturbing; like dreams themselves. They are filled with mystery. Set along a winding pathway of weeping pines inside the Forest of the Subconscious, Heart's Desire evokes many questions for the viewer and admirer to which the artist has tried to answer in an interview with a Grounds For Sculpture staff member in 2008. The central theme of Heart's Desire "is a yearning that does not seem to end." The artist states that there is no "it", just a desire FOR "it." In regards to a number of items in Heart's Desire, the artist has stated that the dolls in the jar are babies awaiting birth, the stars bring about hope, the ice cube symbolizes hopes melting. The large standing doll with arms outstretched connotates compassion and healing. Meanwhile, the armless woman facing the compassion doll demonstrates pain, loss, despair, grief and loneliness. The heart in the clamp stands for the desire for "it". The interpretation by the artist is stoic and humbling in many ways, yet open to interpretation as the viewer's experiences come to the work in varied ways. Vanderbilt's provocative and imaginative art urges the viewer to think as well as to appreciate.
106. GFSN2_180822_301.JPG: Michelle Post The Oligarchs, 2014 Commissioned by the Seward Johnson Atelier, Inc., The Oligarchs is a modern reflection of American robber barons and industrial magnates from the 19th century Gilded Age. These characterizations of the wealthy elite who influenced political and financial policy reverberates through to the present, bringing to mind the recent protests surrounding the "1%". Colorful, expressive, engaging and humorous describe these works brought to life by the artist's imagination and technical command. The artist uses the term "tronie" to describe these portraits. In the later 16th and 17th centuries, a tronie, referred to heads, faces, or expressions depicted in works that were not intended to be formal portraits but rather used as studies of interesting expressions or facial character. Frans Hals' painting 'Jester with a Lute', in the Louvre, is a good example of this genre, as are well known works by Rembrandt and Vermeer. These 21st Century tronies arise primarily from the artist's imagination. Post focuses on the features and expressions of anonymous people. They are not idealized, not a pretty or handsome media face, nor a particular person; yet, they are somehow familiar. They all are informed by a lifetime of stored observations. The original pieces are carved directly in Styrofoam, then modeled over which softens and unifies them. Following the casting in aluminum, the works were then painted in an expressive manner resembling weathered bronze. In 2002, during a work-related project carving Styrofoam to test a number of coatings, Post was surprised as a head emerged from the block of foam. Never considering herself a carver, she was startled at the results. The continued carving of heads represents a major shift in her work.
107. GFSN2_180822_340.JPG: Harmut Stielow Zwei Quadrate, 2001 'Zwei Quadrate' was previously featured in Selections: Works from the ISC Board, as part of Grounds For Sculpture's Fall/Winter 2001/2002 Exhibitions and held in partnership with the International Sculpture Center. On view at that time in the Museum Building, the work is now installed in the sculpture park at the edge of the amphitheater. The work juxtaposes two contrasting components, a slab of gray granite and a similarly sized form of steel. The horizontally placed, heavy, dense stone is cantilevered from the vertical metal section, setting up tensions that address balance and weight as well as the intervening space between the ground plane and the sculpture. The two, varying materials also offer visual excitement and comparison in regard to their colors, textures, and slight differentiation of forms. The clean, spare, straightforward composition and choice of materials is representative of other recent sculptures by Stielow.
108. GFSN2_180822_345.JPG: ???
109. GFSN2_180822_355.JPG: Curt Brill Dana, 2003 Walking along the lakeside path at Grounds For Sculpture, one is bound to meet Curt Brill's 'Dana'. Situated comfortably on a granite plinth, Brill's sculpture is engaging and inviting. One ponders as to what 'Dana' is contemplating. The exaggerated figurative form with its distinct gestural nuances conveys a sense of humor and enthusiasm. Evident in Dana is Brill's expressive hand -- "the push of his hand, the remnant impression of fingers, the shapes of his tools, the changes in pressure of his arm. Stretched, twisted, exaggerated and relaxed, [Brill's] sculptures…fix his anatomical forms in positions that range from ungainly to graceful." (1) The human figure is Brill's source of inspiration. He begins his sculptural process with quick drawings on brown craft paper -- these sketches set the creative mood for Brill and his model. The drawings are then rendered in three dimensions by means of clay maquettes. These maquettes are then enlarged in either clay or plaster as Brill prepares to work in the lost-wax method of bronze casting process. Brill was born in 1952 in the Bronx and attended Cornell University in Ithaca, NY where he received a degree in design. His work has been featured in solo shows at the Karin Newby Galley and Galleria Musou in Tubac, AZ; the University of Arizona Museum of Art, Tucson, AZ; The Lowe Gallery, Santa Monica, CA; as well as several group exhibitions including the Obsidian Gallery, Tuscon, AZ; the Palm Beach Sculpture Biennale, Wellington, FL; and Skokie Sculpture Park, Chicago, IL. Brill's work is also in several collections -- Cornell University; Tucson Museum of Art, AZ; and the Mint Museum of Art, Charlotte, NC, to name a few. (1) Peter S. Briggs. "Humans from Earth: Figurative Sculpture by Curt Brill" in Selected Drawings & Bronze Sculptures: Curt Brill 2005 (Galleria Musou, Tucson, AZ 2005), foreword.
110. GFSN2_180822_363.JPG: Kevin Lyles Passage, 1998 Kevin Lyles is inspired by patterns, textures, and contrasts found in nature. He frequently combines these natural properties with more formal structural designs. His recent work entitled 'Passage' is constructed from steel bars joined horizontally to build a hollow wall. The form, painted black and set on wheels, is almost entirely filled with stones, except for a central area left open to form a window. This open portal integrates the sculpture and the landscape from the perspective of the viewer. This thought provoking work was first shown at Pier Walk '98 in Chicago before arriving at Grounds For Sculpture.
111. GFSN2_180822_368.JPG: George Sugerman Doubles, 1984 Although George Sugarman's early works were predominantly made of wood, by the late 1960's Sugarman became more interested in utilizing metal, as his focus changed to creating art for public spaces. Adhering to the principle that sculpture made for these sites should function in a way that is readily accessible to the general public, Sugarman began to simplify and consolidate his forms. While continuing an exploration of contrasting solid areas with voids, Sugarman designed large-scale works painted with vibrant colors and accentuated with cut-outs. His works are typically constructed of planes punctured by negative space, causing the viewer's focus to shift from the surfaces through the open areas and back again. 'Doubles', made of welded cut-out shapes altertanely painted blue and white, resembles an unfurling flower as the components rise up from the ground and curve outwards. Each plane contains curvilinear cut-outs while the sections are placed to circumscribe an inner core of space.
112. GFSN2_180822_375.JPG: Joel Perlman High Spirit, 1998
113. GFSN2_180822_380.JPG: Robert Ressler Baruch Ashem, 1998 'Baruch Ashem', made of assorted hardwoods, consists of eight undulating columns which support a radial structure of stripped branches, creating an open roof. The words "Baruch Ashem" are Hebrew for "Bless the Name." These words are declared at times of great joy, of hope, or of relief. The sculpture itself engages the space in and around it, giving it a sense of the sacred, and of protection. The surface of the wood is most interesting to contemplate as it reacts with the elements, and displays an array of colors and patterns.
114. GFSN2_180822_388.JPG: India Blake Mood Stone, 2010 India Blake, primarily heretofore has concentrated her considerable talents in the area of theater and photography. More recently she has turned her keen artistic eye towards the three-dimensionsal, continuing her visual arts career through the creation of sculpture. 'Mood Stone', a new addition outdoors for the Spring/Summer 2011 season, is India Blake's first large scale piece of sculpture. This work represents her affinity for nature's organic and fluid rhythms and earthy hues. The sculptor notes, "I love the feel of the raw clay in my hands. The process -- as well as this piece in particular -- bring to mind how malleable our lives are. That, like the fluid clay, we have an opportunity to mold and shape our lives from where we currently stand, into the next stages."
115. GFSN2_180822_402.JPG: Philip Grausman Leucantha, 1993 Philip Grausman has risen to become one of the most well-acclaimed portrait sculptors of his time. Grausman's portraits take on a realistic nature, giving life and personality to his figures. Large-scale Leucantha stands tall with a stoic persona. Grausman's fine workmanship and choice of material, cast aluminum, gives Leucantha a silky complexion making her seem ageless--belonging to no specific period of time. The female head is carried gracefully on a muscled neck imparting inner strength and self-assuredness.
116. GFSN2_180822_420.JPG: Carole Feuerman Employee Shower, 2008 In 'Employee Shower', Feuerman's figure is caught up in the moment, and in the action of taking a shower. The figure is put on display for the audience and is oblivious to their presence. Feuerman states that the young employee is captured in a moment of relaxation after a long day of work. It is "as though the ‘Employees Only' sign on the door of the bathroom is only a suggestion. Through the shared experience of the viewers, one woman's private moment becomes a public testimonial to the calming and purifying abilities of water."
117. GFSN2_180822_452.JPG: David Hostetler Summertime Lady, 1999 The brilliant red and rich black 'Summertime Lady', stands in the reflecting pool near Rat's Restaurant. The sleek, willowy figure in her clinging scarlet gown is abstracted to highlight the essence of feminine allure and sophistication. Hostetler's oeuvre is devoted to the subject of women, honoring the female form and paying tribute to her mythological role as earth goddess. He has created works exclusively within the boundaries of this theme for over fifty years. In addition to his preference for realizing sculptures in carved exotic woods or cast bronze, this artist has created many monoprints, some of them studies for subsequent three-dimensional pieces.
118. GFSN2_180822_458.JPG: Joel Perlman Southern Star, 1989 'Southern Star 'demonstrates Perlman's "truth to materials." According to the artist, "metal should look and act like metal." The story behind the conception and construction of 'Southern Star' reveals his exploratory process of creation. Although Perlman does very few drawings while working on a piece, 'Southern Star' began with a small Styrofoam model, which was then cast in bronze. After casting the model, Perlman made this ten-foot steel version. The diamond-like shape of the sculpture expands upwards from a narrow base and culminates in an open abstract crystalline construction that seems to defy gravity. This piece served as the inspiration for Perlman's 'Great Southern Star', fabricated in aluminum for exhibit in the Samuel P. Harn Museum of Art's Rotunda Gallery, University of Florida.
119. GFSN2_180822_463.JPG: Horace Farlowe Portal Rest, 1999
120. GFSN2_180822_471.JPG: Dana Stewart Fetch, 1987 Circling a ring of lush greenery in the sculpture park are more than a dozen bronze beasts by Dana Stewart. The individual characters are based upon the artist's own imaginary menagerie. Playful, whimsical and amusing at first glance, more in-depth contemplation of the fanciful creatures reveals underlying dark and somber qualities. Grimaces, snarls, stances, and other gestures convey an array of emotions, including fear, lamentation, and aggression. Tails, commonly recognized as an animal's emotional barometer, are exaggerated in size in comparison to each creature's body mass. Long and thick, the appendages are held upright, standing erect, taut and on-guard. The straining, extended necks and the tight lines of the textured bodies aid in relaying this tension between lighthearted whimsy and the darker range of emotions.
121. GFSN2_180822_478.JPG: (left) Dana Stewart Alien Beast, 1991 Circling a ring of lush greenery in the sculpture park are more than a dozen bronze beasts by Dana Stewart. The individual characters are based upon the artist's own imaginary menagerie. Playful, whimsical and amusing at first glance, more in-depth contemplation of the fanciful creatures reveals underlying dark and somber qualities. Grimaces, snarls, stances, and other gestures convey an array of emotions, including fear, lamentation, and aggression. Tails, commonly recognized as an animal's emotional barometer, are exaggerated in size in comparison to each creature's body mass. Long and thick, the appendages are held upright, standing erect, taut and on-guard. The straining, extended necks and the tight lines of the textured bodies aid in relaying this tension between lighthearted whimsy and the darker range of emotions. (right) Dana Stewart Sue's Nightmare, 1998 Circling a ring of lush greenery in the sculpture park are more than a dozen bronze beasts by Dana Stewart. The individual characters are based upon the artist's own imaginary menagerie. Playful, whimsical and amusing at first glance, more in-depth contemplation of the fanciful creatures reveals underlying dark and somber qualities. Grimaces, snarls, stances, and other gestures convey an array of emotions, including fear, lamentation, and aggression. Tails, commonly recognized as an animal's emotional barometer, are exaggerated in size in comparison to each creature's body mass. Long and thick, the appendages are held upright, standing erect, taut and on-guard. The straining, extended necks and the tight lines of the textured bodies aid in relaying this tension between lighthearted whimsy and the darker range of emotions.
122. GFSN2_180822_480.JPG: Dana Stewart Lester, 1996 Circling a ring of lush greenery in the sculpture park are more than a dozen bronze beasts by Dana Stewart. The individual characters are based upon the artist's own imaginary menagerie. Playful, whimsical and amusing at first glance, more in-depth contemplation of the fanciful creatures reveals underlying dark and somber qualities. Grimaces, snarls, stances, and other gestures convey an array of emotions, including fear, lamentation, and aggression. Tails, commonly recognized as an animal's emotional barometer, are exaggerated in size in comparison to each creature's body mass. Long and thick, the appendages are held upright, standing erect, taut and on-guard. The straining, extended necks and the tight lines of the textured bodies aid in relaying this tension between lighthearted whimsy and the darker range of emotions.
123. GFSN2_180822_487.JPG: Dana Stewart What Was That?, 1997 Circling a ring of lush greenery in the sculpture park are more than a dozen bronze beasts by Dana Stewart. The individual characters are based upon the artist's own imaginary menagerie. Playful, whimsical and amusing at first glance, more in-depth contemplation of the fanciful creatures reveals underlying dark and somber qualities. Grimaces, snarls, stances, and other gestures convey an array of emotions, including fear, lamentation, and aggression. Tails, commonly recognized as an animal's emotional barometer, are exaggerated in size in comparison to each creature's body mass. Long and thick, the appendages are held upright, standing erect, taut and on-guard. The straining, extended necks and the tight lines of the textured bodies aid in relaying this tension between lighthearted whimsy and the darker range of emotions.
124. GFSN2_180822_491.JPG: John Van Alstine Juggler I, 1993 John Van Alstine's sculptures are centered on the union of natural materials, such as stone, with human-made materials, such as steel. The sleek, curved lines of the bronze portion of 'Juggler I' are in elegant harmony with the overall shape of the boulder. The cast metal elements-a sinuous curve, geometric shapes, and an anvil-cantilever gracefully upward and outward from the dense, weighty granite in a seemingly effortless feat of balance. Van Alstine has stated that the anvil, a metal-working tool, is symbolic of the "forging" together of the conceptual and the physical that make up his sculptures, and this image is frequently incorporated into his works.
125. GFSN2_180822_496.JPG: Gunnar Theel Nature's Laugh, 1992 Gunnar Theel was born in Germany and relocated to America in 1969. He has been working in New York City since 1973 as a painter and since the 1980s as a sculptor. 'Nature's Laugh' is indicative of the artist's sense of humor as well as the recurring theme of nature and architecture in his body of work. Made of copper, steel, and plywood, the upside down house balanced on the peak of its roof has grass growing where the bottom floor should be, and a ladder placed in a paradoxical position. For the artist, it represents man's ongoing dialogue with nature and nature's supreme victory over man's continuous attempt to be its master. Houses and architecture continue to influence Theel's art as illustrated with his Right Angles series of abstract steel sculptures.
126. GFSN2_180822_504.JPG: ???
127. GFSN2_180822_506.JPG: Peter Reginato Lune Bleu, 1980
128. GFSN2_180822_515.JPG: Bruce Beasley Dorion, 1986 Bruce Beasley is one of the foremost sculptors on the West Coast. His interests in natural science and technology inspire him to construct dynamic sculptures which simultaneously expand into and envelop space. He achieves this through the repetitive use of planar crystalline forms acting as building blocks for the complex structures. His conceptions and designs are aided by a sophisticated, three-dimensional computer program that enables him to experiment with variations of an idea before actually building the components. Beasley created numerous stainless steel works like 'Dorion' during the 1980s. Since then he has been making works in bronze based upon simple structures like the cube.
129. GFSN2_180822_522.JPG: ???
130. GFSN2_180822_526.JPG: Petro Hul From The Heart, 1999 Two stone works by Hul, 'From the Hear't and 'Die Fussballer', are placed in a hedged "room" on the sculpture pad. Both abstract in style, 'Die Fussballer', through its streamlined, polished form, captures the rushing, converging energy of a soccer game when players close in on the ball. In contrast, contours and textures inspired by the canyon lands of the American Southwest subtly unfold in From the Heart. This work is revealed in its entirety only by walking around it. The artist purposefully draws the viewer in to discover the undulating form and surface nuances from a continuous sequence of vantage points. Hul, using stone as a medium since the 1980s, prefers to work without first constructing a model or maquette, but rather allowing the individual, inherent qualities of each stone block to suggest the direction the sculpture will take. Made of Colorado Yule marble using direct carving techniques, the sculptures were created at Marble/marble, a symposium held annually at a location high in the Rocky Mountains in Colorado. Hul began attending these highly regarded training workshops in 1994 and has been a technical assistant during their summer sessions since 1997. He has also acquired over twelve years of foundry and casting experience. Beginning in 1988, Hul's exhibition history includes the prestigious Sedona Sculpture Walks in Arizona and that city's annual Hillside Sculpture Invitationals; Stone Carver's Annuals in Redstone, Colorado; and gallery and museum shows in New York and New Jersey.
131. GFSN2_180822_530.JPG: Petro Hul Die Fussballer, 1997 Two stone works by Hul, 'From the Heart' and 'Die Fussballer', are placed in a hedged "room" on the sculpture pad. Both abstract in style, 'Die Fussballer', through its streamlined, polished form, captures the rushing, converging energy of a soccer game when players close in on the ball. In contrast, contours and textures inspired by the canyon lands of the American Southwest subtly unfold in 'From the Heart'. This work is revealed in its entirety only by circling it. The artist purposefully draws the viewer in to discover the undulating form and surface nuances from a continuous sequence of vantage points. Hul, using stone as a medium since the 1980s, prefers to work without first constructing a model or maquette, but rather allowing the individual, inherent qualities of each stone block to suggest the direction the sculpture will take. Made of Colorado Yule marble using direct carving techniques, the sculptures were created at Marble/marble, a symposium held annually at a location high in the Rocky Mountains in Colorado. Hul began attending these highly regarded training workshops in 1994 and has been a technical assistant during their summer sessions since 1997.
132. GFSN2_180822_538.JPG: George Segal Depression Breadline, 1999 'Depression Breadline' was cast in bronze at the Johnson Atelier Technical Institute of Sculpture in 1999. The five male figures lined up by the wall on the sculpture pad represent a scene from the Great Depression, a period of economic hardship during which many people were in need of government assistance to survive. The original sculpture was made in 1991 from plaster, wood, metal, and acrylic paint--it is from this original sculpture that a mold was made for casting. The sculpture in the park is the second in an intended edition of seven. The first edition of the sculpture is on view in Washington, D.C. at the Franklin Delano Roosevelt Memorial--a tribute to the president who held office during this era in America's history and whose policies helped move the country out of an economic decline towards prosperity.
133. GFSN2_180822_551.JPG: John Newman Brazen Sphere, 1988 Characteristic of Newman's work, 'Brazen Sphere' demonstrates the artist's ability to combine abstract organic, visceral forms with an underlying pervasive focus on structure and architectural detail.
134. GFSN2_180822_560.JPG: Carole Feuerman Zeus and Hera II, 2004 Rather than a traditional cast, Carole Feuerman developed a process of pouring molten metals, in this case bronze and aluminum, directly into molds. Feuerman allows her intuition and sense of play to be her guide during this process. While the figures in 'Zeus and Hera II' represent the idealized forms of ancient civilizations, the interplay of the characters is an important element of this work. Zeus looks away, his attention always roaming, while Hera half- embraces him, eager to be noticed.
135. GFSN2_180822_565.JPG: Francisco Leiro Skewered, 1999 Francisco Leiro's large, writhing bronze figure, torturously impaled as the title 'Skewered' describes, was cast at the Johnson Atelier from an original work carved in poplar. An observer of human nature, Leiro interprets nightmarish tragedy, illustrating the delicate balance between mastery and failure, and tempering the absurd with ironic and comedic statements in his powerful, emotive sculptures. Comparisons and similarities in subject matter--depictions of human pathos--have been made to the works of two Spanish masters, Francisco Goya and Pablo Picasso, though in Leiro's world, the rational does prevail.
136. GFSN2_180822_589.JPG: Carlos Dorrien The Nine Muses, 1990-97 The Nine Muses, a multi-component grouping carved from Vermont granite, was an ambitious project made over a course of seven years. Through its title, medium, appearance, and arrangement, The Nine Muses is suggestive of statuary from Egypt, Greece, pre-Columbian sites, and other past civilizations. Granite slabs, cut and pieced together almost in a puzzle formation, form the floor of the installation, further reinforcing the allusion to an ancient temple and cleverly forming a support base without reliance on a pedestal. The number of figures holds significance in that there were nine "muses" in classical mythology, all daughters of Zeus and Mnemosyne, who presided over the arts and sciences. Some of the standing figures resemble caryatids (support columns in the shape of a woman) found in Greek architecture, while others are more abstract, roughly hewn and less clearly defined.
137. GFSN2_180822_596.JPG: Leonda Finke Seated Figure from Women in the Sun, 1988 Grounds For Sculpture presented a one-person exhibition of Leonda Finke's sculpture in the spring of 2001. Two cast bronzes, 'Standing Figure' and 'Seated Figure' from her 'Women in the Sun Series', were featured in the exhibition and are now fittingly installed outdoors on the sculpture pad in the park. These expressive figures are not idealized; they are women who show age and wear. She has managed to convey a quiet stillness along with a powerfully emotive quality in the two sculptures. Posed in self-reflection, unaware of others, they turn and lift their faces toward the sun seeking energy and "warmth after the winter . . . giving thanks in greeting yet another season of the sun in our life cycle." This artist chooses women as her subject matter because she can knowingly portray their struggles, their self-discovery, their inner psyche. Concerned as much with shape in space as with women's inner thoughts, Finke fits the figures with thin clinging garments serving to accent or hide form.
138. GFSN2_180822_601.JPG: Leonda Finke Standing Figure from Woman in the Sun, 1988 Grounds For Sculpture presented a one-person exhibition of Leonda Finke's sculpture in the spring of 2001. Two cast bronzes, 'Standing Figure' and 'Seated Figure' from her 'Women in the Sun Series', were featured in the exhibition and are now fittingly installed outdoors on the sculpture pad in the park. These expressive figures are not idealized; they are women who show age and wear. She has managed to convey a quiet stillness along with a powerfully emotive quality in the two sculptures. Posed in self-reflection, unaware of others, they turn and lift their faces toward the sun seeking energy and "warmth after the winter . . . giving thanks in greeting yet another season of the sun in our life cycle." This artist chooses women as her subject matter because she can knowingly portray their struggles, their self-discovery, their inner psyche. Concerned as much with shape in space as with women's inner thoughts, Finke fits the figures with thin clinging garments serving to accent or hide form.
139. GFSN2_180822_606.JPG: Paul Muick Two Figure Composition, 1999 The distinct shapes and self-enclosed forms in 'Two Figure Composition' emphasize plastic clarity and balance as they soar upward and open outward from the tapered lower section. The essence of this dynamic composition of abstracted figures lies in the impression of movement, yet the volumetric shapes are merged and bound together, becoming interdependent, integral components of the finished work. The smoothly polished surface of the luminescent stone adds to the sculpture's formal presentation. This complex piece was first conceived as a plaster model, then realized in Royal Danby marble, which was cut using the state-of-the-art machinery at the former Johnson Atelier Stone Division in Mercerville, New Jersey.
140. GFSN2_180822_612.JPG: Dorothy Ruddick Number II, 2003 "Ruddick's sculptures echo the Greeks in their subject matter, of course, but their delicate craft and fragmentary beauty have as much in common with Bonnard, Degas, and Giacometti as they do with Phidias. Moreover, the female figure underlying Ruddick's drapery is seldom Goddess-like or ideal. The real female body, imperfect but beautiful, is celebrated with understated poignancy." – Kevin Scott, Richard York Gallery, NY In 1998, Dorothy Ruddick took her long fascination with cloth and clothing in a new direction. Her previous portfolio of work consisted of fiber-based abstractions stitched onto linen using silk, cotton, and wool thread. In 'Number II', Ruddick changed her focus to explore the effect of drapery as it encircles the figure, using papier-m�ch� swathed over forms created with polymer modeling compound. 'Number II' is the first enlargement in bronze from this series. Dorothy Ruddick has described the papier-m�ch� and polymer sculptures as "lyric poems" and the bronze as an "epic." In both mediums, the attention to drapery and the definition it lends to the form indicates classical references, but the fragmentation and abstract treatment of the form places the work in a contemporary context. The figure is not idealized, yet it retains an alluring and beautiful form that is defined by the loops and folds of the drapery. Rather than appearing broken at the neck, arms, and legs, the sculpture is smooth, indicating that these parts were never a consideration, moving the object towards the abstract realm.
141. GFSN2_180822_623.JPG: Linda Cunningham War Memorial III, 1987 'War Memorial III', a grouping of five 11-foot-tall abstracted bronzes, moved to Grounds For Sculpture from its placement outside the City University of New York Graduate Center in mid-town Manhattan. Linda Cunningham used an experimental process to cast the fragmented, imposing, and haunting figurative units of the composition. The jagged-edged, thin bronze sections appear rough, raw, and corroded. The bronze pieces are joined together around a hollow center in such a manner as to further contribute to the illusion of loss and decay through passage of time. The emotional impact, emphasized by the gathering of multiple components, is one of sadness, of heroic tributes left to erode and eventually vanish through neglect.
142. GFSN2_180822_633.JPG: Howard Kalish Urchin, 2001 'Urchin' illustrates the serendipitous nature of Kalish's artwork, evolving from a series of smaller sculptures based upon the idea of spiral as the form of growth. The study for 'Urchin' was approximately six inches tall. Instead of following the traditional method of enlarging sculpture in which external measurements dictate the final form, Kalish decided to create a much more expansive piece by working from the center of the sculpture outward. As a result, 'Urchin' is open yet interconnected-encouraging viewers to see through the work as well as enjoy the overlapping structure and interplay of colors.
143. GFSN2_180822_640.JPG: E. Calder Powel Schatz's Spaceship (Inspired by the Oloid), 2010 This work is located just outside the grounds, on the corner of Sculptors Way and Fairgrounds Road.
144. GFSN2_180822_643.JPG: Meryl Taradash The Caged Bird Dances II, 2001
145. GFSN2_180822_646.JPG: ???
146. GFSN2_180822_652.JPG: ???
147. GFSN2_180822_655.JPG: ???
148. GFSN2_180822_658.JPG: Isaac Witkin Eolith, 1994 "…the masses seem at once like primordial "lumps" -- essential, dense volumes from which all organic life springs -- and cloudlike. They are simultaneously earthbound and weightless, geologic, body-like, and even ephemeral. Which association dominates seems to depend on how the masses are disposed in space, whether they lean, tilt, slouch, or are hoisted defiantly into the air."–Karen Wilkin, curator and critic The above passage by Karen Wilkin eloquently expresses the essence of Isaac Witkin's stone sculpture -- 'Eolith'. Soaring 14 feet up into the sky, weighing approximately 20,000 pounds and made of Blue Mountain granite, 'Eolith' was previously on exhibit at Grounds For Sculpture in 1995 as part of the sculpture park's Spring/Summer Exhibitions. While Witkin is principally known for his bold and formal constructivist steel pieces from the 1960's and later for his soft-edged, organic bronze pieces, 'Eolith' stands as an example of the artist's first opportunity in 1994 to work with and explore stone as a sculptural medium.
149. GFSN2_180822_663.JPG: William T. Wiley To Marcel Duchamp, 1887-1968, Artist, Tool and Die Maker, 1968 William T. Wiley developed his pivotal direction as an artist in the late sixties while on the faculty at the University of California, Davis. In 1968, while living for brief period in Northern New Jersey, Wiley dedicated "To Marcel Duchamp, 1887-1968, Tool and Die Maker" to Duchamp on the news of artist's death. Duchamp's philosophy on art, his questions about the function of art, its social value, and his glorification of everyday objects such as the bottle and the urinal had greatly impacted Wiley as a young artist.
150. GFSN2_180822_665.JPG: ???
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Wikipedia Description: Grounds For Sculpture
From Wikipedia, the free encyclopedia

Grounds For Sculpture (GFS) is a 42-acre (170,000 m2) sculpture park and museum located in Hamilton, NJ, United States, on the former site of the New Jersey State Fairgrounds. Founded in 1992 by John Seward Johnson II, the venue is dedicated to promoting an understanding of and appreciation for contemporary sculpture by organizing exhibitions, publishing catalogues, and offering a variety of educational programs and special community events.

In July 2000, GFS became a nonprofit organization open to the public. Operation revenues come from visitors, art patrons, donations, and grants. GFS maintains an ever changing collection of sculptures, with works by Seward Johnson and other artists.
Bigger photos? To save server space, the full-sized versions of these images have either not been loaded to the server or have been removed from the server. (Only some pages are loaded with full-sized images and those usually get removed after three months.) I still have them though. If you want me to email them to you, please send an email to guthrie.bruce@gmail.com and I can email them to you, or, depending on the number of images, just repost the page again will the full-sized images.
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Same Subject: Click on this link to see coverage of items having the same subject: [Museums (Art)]
2018 photos: Equipment this year: I continued to use my Fuji XS-1 cameras but, depending on the event, I also used a Nikon D7000. Trips this year: Civil War Trust conferences in Greenville, NC, Newport News, VA, and my farewell event with them in Chicago, IL (via sites in Louisville, KY, St. Louis, MO, and Toledo, OH), three trips to New York City (including New York Comic-Con), and my 13th consecutive trip to San Diego Comic-Con (including sites in Reno, Sacramento, San Francisco, and Los Angeles). Number of photos taken this year: about 535,000.
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