Jaume Plensa is a Spanish artist and sculptor. Plensa was born in Barcelona and studied art there, in the "Llotja" School and in the Escola Superior de Belles Arts de Sant Jordi. Plensa's works include the Crown Fountain at Millennium Park in Chicago, which opened in July 2004; the fountain is composed of a black granite reflecting pool placed between a pair of glass brick towers. The towers are 50 feet tall, they use light-emitting diodes to display digital videos on the inward faces. In the summer of 2007 he participated in the Chicago Public Art exhibit, Cool Globes: Hot Ideas for a Cooler Planet. Another Plensa piece is Blake in Gateshead in North East England, a laser beam that on special occasions shines high into the night sky over Gateshead's Baltic Centre for Contemporary Art. In 2007, working with a group of local ex-miners, he was commissioned to create a new work on the landmark site of a former colliery near St Helens, Merseyside, as part of the Big Art Project, a major national public art initiative linked to Channel 4.
Unveiled in spring 2009, Dream consists of an elongated white structure 20 metres tall, weighing 500 tons, carved to resemble the head and neck of a young woman with her eyes closed in meditation. The structure is coated in sparkling white Spanish dolomite, as a contrast to the coal which used to be mined there. On 16 June 2008 Plensa's sculpture of a listening glass entitled Breathing was dedicated by the incumbent Secretary-General of the United Nations, Ban Ki-moon, as a memorial to journalists killed whilst undertaking their work; the sculpture in steel and glass sits atop a new wing of Broadcasting House in London. At 22:00 GMT each evening a beam of light will be projected from the sculpture extending 1 km into the sky for 30 minutes to coincide with the BBC News at Ten. In 2010, Plensa's Alchemist was installed in front of the Stratton Student Center, facing the main entrance of the Massachusetts Institute of Technology in Cambridge, Massachusetts, it is a large, hollow seated figure similar to other contemporary Plensa figures, except that it is composed of numerals and mathematical symbols, to honor MIT's traditional STEM-focused teaching and research.
The sculpture was donated anonymously on the occasion of MIT's 150th anniversary. El alma del Ebro was created for the International Exposition in Zaragoza, the theme of, "Water and Sustainable Development", it is eleven meters high, the sculpted letters representing cells of the human body, over 60% water. Its white letters and hollow structure invite the viewer to look inside and reflect on the relationship between human beings and water. A similar sculpture entitled Singapore Soul was installed in front of the Ocean Financial Centre in Singapore, and an ensemble piece entitled I, She, He... with three figures composed of the letters, each seated on large flat boulders, can be seen at the Frederik Meijer Gardens & Sculpture Park, in Grand Rapids, Michigan. From May to mid-August 2011 the work Echo was displayed in Madison Square Park in Manhattan. In November 2012, the Albright–Knox Art Gallery in Buffalo, New York unveiled a 32-ton sculpture by Plensa called Laura; the 20-foot tall sculpture is composed of 20 massive pieces of marble from the south of Spain.
1993: Medaille des Chevaliers des Arts et Lettres by the French Minister of Culture 1996: Awarded by the Fondation Atelier Calder 1997: National Award of Arts by the Government of Catalonia 2005: Investit Doctor Honoris Causa by School of the Art Institute of Chicago 2009: Marsh Award for Excellence in Public Sculpture. 2012: Creu de Sant Jordi Award 2012: Premio Nacional de las Artes Plásticas 2013: Premio Nacional de Arte Gráfico 2013: Premio Velázquez de Artes Plásticas, by Ministerio de Cultura de España Looking Into My Dreams, Awilda Tolerance, Texas Official site of Jaume Plensa
Ursula von Rydingsvard
Ursula von Rydingsvard is a sculptor, working in Brooklyn, New York for the past 30 years. She received her MFA from Columbia University in 1975 after which time she started to work with cedar, a material through which she has explored a wide range of images. Von Rydingsvard is best known for creating large-scale monumental sculpture from the cedar beams which she painstakingly cuts and laminates rubbing powdered graphite into the work's textured, faceted surfaces, she deliberately uses cedar boards milled into 4" by 4" widths with varied lengths which create a neutrality or "blank canvas" which enables her to dip into many different possibilities within the arena of the psychological and emotional. As von Rydingsvard explains this approach: "If I were to say how it is that I break the convention of sculpture, it would be by climbing into the work in a way that’s personal, that I can claim as being mine; the more mine it is, the more I’m able to break the convention." Her signature abstract shapes refer to things in the real world, each revealing the mark of the human hand while summoning natural forms and forces.
These forms include simple vessels and bowls. Born in Deensen, Germany in 1942 to a Polish mother and Ukrainian father, as a young child the artist and her six siblings experienced the German occupation of Poland and the trauma of World War II, followed by five years in eight different German refugee camps for displaced Poles. In 1959, through the U. S. Marshall Plan and with the assistance of Catholic agencies, her family of peasant farmers boarded a ship to the United States where they settled in Plainville, Connecticut, she received a BA and MA from University of Miami, Coral Gables, Florida in 1965 and an MFA from Columbia University in New York City in 1975. Major permanent commissions of her work are on view at the Microsoft Corporation, Redmond, WA. Mad. Sq. Art: Ursula von Rydingsvard was the outdoor solo exhibition presented at Madison Square Park in 2006. In 2008, she was inducted into the American Academy of Arts and Letters along with being featured in Art:21 Art in the Twenty-First Century on PBS.
A monograph on her work titled The Sculpture of Ursula von Rydingsvard was published by Hudson Hills Press in 1996 and in 2011 Prestel published Ursula von Rydingsvard: Working. In 2014-2015 Ursula von Rydingsvard had her first British show at the Yorkshire Sculpture Park, her most extensive exhibition to date; the exhibition was accompanied by the Ursula von Rydingsvard 2014 Catalogue, a major publication featuring text by Molly Donovan, Curator of Modern and Contemporary Art at the National Gallery of Art in Washington. The artist is represented by New York. Visionary Woman Honors Award, Moore College of Art & Design, Philadelphia, PA, 2017 Lifetime Achievement Award, International Sculpture Center, Hamilton, NJ, 2014 Honoree, Storm King Art Center Annual Gala, New York, NY, 2012 Skowhegan Medal for Sculpture, Skowhegan School of Painting and Sculpture, Maine, 2011 Best Show in a Non-Profit Gallery or Space, American Section of the International Association of Art Critics, 2011 Rappaport Prize, DeCordova Museum and Sculpture Park, Lincoln, MA, 2008 Order of the Cross, Polish Consulate, New York, 2008 Mary Miss Resident in Visual Arts, American Academy in Rome, Italy, 2007 2nd prize, Best Show in a Commercial Gallery, American Section of the International Association of Art Critics, 2000 Academy Award in Art, American Academy of Arts and Letters, New York, NY, 1994 Best Small Museum Exhibition, American Section of the International Association of Art Critics, 1992 Honorary Doctorate, Maryland Institute College of Art, Baltimore, MD, 1991 Individual Artists Grant, National Endowment for the Arts, Washington, D.
C. 1986 Athena Foundation Grant, Long Island City, NY, 1983 Guggenheim Fellowship, John Simon Guggenheim Foundation, New York, NY, 1983 Individual Artists Grant, National Endowment for the Arts, Washington, D. C. 1979 Individual Artists Grant, National Endowment for the Arts, Washington, D. C. 1978 Fulbright-Hayes Travel Grant, Washington, D. C. 1975 Inside the Artist's Studio, Princeton Architectural Press, 2015. Galerie Lelong site - for images and artist's CV Biography, essays, artwork images and video clips from PBS series Art:21 -- Art in the Twenty-First Century - Season 4. Ursula von Rydingsvard at Madison Square Park, New York Ursula von Rydingsvard in Sculpture Magazine: A Conversation with Steven Oliver Ursula von Rydingsvard in Works & Conversations Ursula von Rydingsvard at Barclays Center, Brooklyn, NY Ursula von Rydingsvard in Frieze Magazine: At The Height of Her Career Ursula von Rydingsvard in The Philadelphia Inquirer
Jim Dine is an American pop artist. He is sometimes considered to be a part of the Neo-Dada movement, he was born in Ohio. He went to University of Cincinnati. In 1953, he attended evening classes at The Art Academy of Cincinnati taught by the influential instructor, Paul Chidlaw. Dine received a BFA from Ohio University in 1957, he first earned respect in the art world with his Happenings. Pioneered with artists Claes Oldenburg and Allan Kaprow, in conjunction with musician John Cage, the "Happenings" were chaotic performance art, a stark contrast with the more somber mood of the expressionists popular in the New York art world; the first of these was the 30-second The Smiling Worker performed in 1959. In 1962 Dine's work was included, along with Roy Lichtenstein, Andy Warhol, Robert Dowd, Phillip Hefferton, Joe Goode, Edward Ruscha, Wayne Thiebaud, in the important and ground-breaking New Painting of Common Objects, curated by Walter Hopps at the Norton Simon Museum; this exhibition is considered one of the first "Pop Art" exhibitions in America.
These painters started a movement, in a time of social unrest, which shocked America and the art world. The Pop Art movement fundamentally altered the nature of modern art. In the early 1960s, he began attaching objects tools of autobiographical significance, to his canvases. Job #1 from 1962, in the collection of the Honolulu Museum of Art, which incorporates paint cans, paint brushes, a screwdriver, a piece of wood is an example of such a pop art work; these left Dine unsatisfied. In September 1966 police raided an exhibition of his work displayed at Robert Fraser's gallery in London, England. Twenty of his works were seized and Fraser was charged under the Obscene Publications Act of 1959, Dine's work was found to be indecent but not obscene and Fraser was fined 20 guineas; the following year Dine moved to London and continued to be represented by Fraser, spending the next four years developing his art. According to James Rado, co-writer of the rock musical Hair, it was a Dine piece entitled Hair which gave them the name.
The Virginia Museum of Fine Arts purchased six works by Dine, in 1983 he was a juror in “The Next Juried Show” at the VMFA, judging prints and drawings. The juried shows at the VMFA were a series of biennial exhibitions covering all areas including Communication Arts, Craft Media, Painting & Sculpture, Video Arts, Prints and Drawings, each on an every-other-year schedule. “The Next Juried Show” was the last of the series, however. In 1984 the Walker Art Center in Minneapolis, exhibited his work as "Jim Dine: Five Themes". 1987 saw the publication of the book Jim Dine: Drawings 1973 - 1987, to coincide with a touring exhibition. In 1989 the Minneapolis Institute of Art hosted Jim Dine Drawings: 1973–1987. In 1983, he was elected into the National Academy of Design as an Associate member, became a full Academician in 1994. In 2004 the National Gallery of Art in Washington, D. C. organized the exhibition "Drawings of Jim Dine." In the summer of 2007 he participated in the Chicago public art exhibition "Cool Globes: Hot Ideas for a Cooler Planet."
In Canada, he first exhibited at the Galerie de Bellefeuille alongside artists Chuck Close, Tom Hopkins and Jennifer Hornyak in 2009. Dine exhibited with the Alan Cristea Gallery in London and had a show there in April 2010. On May 16, 2008, Jim Dine formally presented a nine-meter-high bronze statue depicting a walking Pinocchio, named Walking to Borås to the city of Borås, Sweden. Dine worked on a commercial book and sculptures that focused on Pinocchio. Another large bronze sculpture of Pinocchio by Jim Dine exists near the entrance of the Cincinnati Art Museum. Located at Washington State University in the city of Pullman, the Technicolor Heart is a 12 foot tall silicon bronze sculpture painted with oil enamel in the shape of a heart, it is one of 31 pieces of art on display on WSU's campus. This statue, inspired by his earliest memories of work, is painted blue and is covered in hand tools; the Technicolor Heart was acquired in 2004 for $391,440 by the Washington State Arts Commission, a state government agency established in 1961, for the State Art Collection.
Dine's work is part of numerous public collections including London. C.. C.. Cy Twombly Jim Dine: A Self-Portrait on the Walls, a 1995 documentary Marcel Duchamp Michael Woolworth Laura Schiff Bean Chris Bruce, with an essay by Jim Dine. Extending the Artist's Hand: Contemporary Sculpture from the Walla Walla Foundry. Pullman, Washington: Museum of Art, Washington State University, 2004. ISBN 978-0-9755662-0-6 John Coplans, "New Paintings of Common Objects", November, 1962. Jim Dine, "A Printmaker's Document", Steidl, 2013 Encyclopedia of Artists: Volume 2, William H. T. Vaughan, Oxford: OUP ISBN 0-19-521572-9 Richard Gray Gallery Drawings of Jim Dine at the National Gallery of Art Past Exhibition of Drawings of Jim Dine at the National Gallery of Art Jim Dine on ArtCyclopedia Dine, Jim
Alan Sonfist is a New York City based American artist best known as a "pioneer" and a "trailblazer" of the Land or Earth Art movement. He first gained prominence for his "Time Landscape" found on the corner of West Houston Street and LaGuardia Place in New York City's Greenwich Village. Proposed in 1965, "Time Landscape" the environmental sculpture took over ten years of careful planning with New York City, it was landmarked by the city. It has been cited as the first urban forest of its kind. More Sonfist has continued to create artworks within the natural landscape, inaugurating a one-acre landscape project titled "The Lost Falcon of Westphalia" on Prince Richard's estate outside Cologne, Germany in 2005. In Nature: The End of Art, environmentalist Jonathan Carpenter writes that "To review the public sculptures of Alan Sonfist since the 1960s is to witness the reemergence of the aware artist, his sculptures reassert the historical role of the artist as an active initiator of ideas within society.
Each of his artworks fundamentally redefine what sculpture is, who the artist is, how art should function for its public." Sonfist was raised in the South Bronx. His work derives from an early childhood anxiety towards deforestation; as the Financial Times writes: "One of the pioneers of environmental art, Sonfist's passion for nature was triggered by his childhood nearby a hemlock forest, which has now died.'I watched it disappear as people tried to improve upon it,' he tells me sadly. A gentle soul in a pinstriped suit and straw trilby, he believes nature is safest'when left to be like it is'."Attending Ohio State University, he studied with Gestalt psychologist Hoyt Sherman. His research there concerned the language of visual culture and its relationship with human psychology, he attended Hunter College, where he received a Masters in Art. He went on to pursue a Research Fellowship in visual studies at MIT, Cambridge, MA. Beginning with his first major commissioned work, "Time Landscapes" in Greenwich Village, NYC, Sonfist received critical acclaim for his innovative use of urban spaces to design havens of nature and green art.
His early work in the 1960s and 1970s helped pioneer the burgeoning movement of site-specific sculpture. After his breakthrough Time Landscape of New York, Sonfist built a reputation as a father of the environmental art movement, presenting a new and unique harmony between ecology and artistry. In 1971, Joshua Taylor, Director of the American Museum of Art, wrote of "Autobiography of Alan Sonfist", a one-person exhibition at the Smithsonian Institution, "... some--like Alan Sonfist... have reacted to a cosmic consciousness by returning to specific nature in its smallest detail. For art in America, the landscape has meant freedom and expansion, or, when useful and concentration, but once the artist took possession of his environment, the natural bounty of America was never far from the surface of his art."His 1971 work, Leaves Met the Paper in Time complemented Time Landscape in its themes. The piece consists of sheets of dyed paper paired with real leaves of the same shade. While the paper retained its color, the leaves lost theirs over time, which Eleanor Heartney explains as "suggesting the apparent triumph of technology over nature while memorializing the original state of the now shriveled leaves."
′ His first major publication was on his lecture series at the Metropolitan Museum of Art in 1969. Sonfist edited "Art in the Land: A Critical Anthology of Environmental Art,", republished in Europe and Asia due to its reception by critics and artists alike, he has been included in multiple major international exhibition catalogs such as the Dokumenta, the Venice Biennale, the Paris Biennale. Dr. Robert Rosenblum wrote an introduction to Sonfist's "Nature: The End of Art", distributed by Thames and Hudson, published by Gil Ori. Throughout his career, Sonfist has given several keynote speeches for public and private events and organizations such as Pennsylvania State University, the Southern Sculpture Conference, the American Landscape Association in Miami, he has been a featured speaker in numerous symposiums at major institutions and conferences including the Metropolitan Museum of Art, the Boston Museum of Fine Arts, the Midwest College Association, the U. N. Ecological Conference in São Paulo and the Berlin Ecology Conference.
Sonfist has been a featured lecturer at numerous major institutions including the Whitney Museum of Art, the Nelson-Atkins Museum of Art, the Museum of Contemporary Art of Chicago. In 1987, Sonfist's public art installation, Time Landscape of St. Louis, was ordered unilaterally to be destroyed by Evelyn O. Rice director of the St. Louis Department of Parks and Forestry, only 17 months after installation. Rice declared the artwork a "public eyesore". While the infant Regional Arts Commission was contacted about the destruction, Ms Rice did not use the new public city policy to convene a panel to review the work prior to removal. Rather, she ordered the city's bulldozers to remove the work as soon as possible; this action created news reports into the larger discussion about public art works, city policy and legality. Sonfist has received major awards and grants from private and governmental organizations including the National Endowment for the Arts, the Graham Foundation for Art and Architecture, the Chase Manhattan Bank Foundation, the U.
S. Information Agency. Sonfist's works are included in many international public collections such as Skulpturen Park Köln in Germany and Villa Celle, in Tuscany, Italy, his work is featured in collections of major institutions including Metropolitan Museum of Art, the Dallas Museum of Art, th
DeWitt Godfrey is an American sculptor, best known for his large abstract constructions of banded steel installed in public sites. Godfrey was born in Houston and raised in Kalamazoo, Michigan. A. in Art from Yale University in 1982 and an M. F. A. in Sculpture from the Edinburgh College of Art as a Fulbright Scholar in 1996. Godfrey is the recipient of numerous awards and fellowships including the National Endowment for the Arts, the Henry Luce Foundation, the New York Foundation for the Arts and the Japan Foundation, among others, he is a Board member of the College Art Association and the Director of the Institute for Creative and Performing Arts at Colgate University, where he is an Associate Professor in the Department of Art and Art History. He lives in Central New York with his wife and daughters. Godfrey was elected president of the CAA Board of Directors for a two-year term, beginning May 2014 Atiya, Alexandra N. Godfrey Takes Art to the Streets: Pamplona Sculpture Only the Beginning, Harvard Crimson, February 9, 2006.
Heuer, The Incredible Lightness of Steel, ARTnews, July 2005. Kimmelman, Profiles Both Abstract and Real, The New York Times, May 20, 1988. Rubin, David S. Selections from the Edward Albee Collection: Farrell Brickhouse, Stephen Buckley, DeWitt Godfrey, David Hacker, Stanislav Kolibal, Chris Martin, Max Miller, Maud Morgan, Vladimír Novák, Jeff Price, Frank Schroder, Kishio Suga, Jonathan Thomas, Vladimir Urban, Tad Wiley, Reading, Pa. Albright College, 1988
Beverly Pepper is an American sculptor known for her monumental works, site specific and land art. She remains independent from any particular art movement, she was married to the writer Curtis Bill Pepper for 65 years and has lived in Italy in Todi, since the 1950s. Pepper was born Beverly Stoll on December 20, 1922, in New York, her parents were Jewish immigrants. She grew up with a father, a furrier and a mother, a volunteer for the National Association for the Advancement of Colored People. “It was an interesting household,” she said in an interview. “You see, I wasn’t brought up thinking I had to be a'feminine’ woman.'Her mother and grandmother had strong personalities, which convinced her she could make her own life far from Brooklyn. “There was nothing I thought would limit me because my mother and grandmother were strong women. I didn’t know that’s not how women acted!” At sixteen, she entered the Pratt Institute in Brooklyn, New York to study advertising design and industrial design. She embarked on a career as a commercial art director.
She studied at the Art Students League of New York and attended night classes at Brooklyn College, including art theory with György Kepes, who introduced her to the work of Lasló Moholy-Nagy and Man Ray. It was in her mid 20s, that she met the environmental artist Frederick Kiesler. Drawn to post-war Europe in 1949, she studied painting in Paris at the Académie de la Grande Chaumière. There she attended classes with cubist painter André L'Hôte, with Fernand Léger at his atelier, she visited the studios of Ossip Zadkine and Brâncuși. Pepper began her career as a painter, but after a trip to Angkor Wat, Cambodia in 1960, she was so awed by the temple ruins surviving beneath the jungle growth that she turned to sculpture, she made her debut in 1962 with an exhibit of carved tree trunks at a gallery in Rome. Pepper introduces her sculptural vocabulary with integrations of wood carvings and metal castings. Art critic, Rosalind Krauss has described her work as violating modernist traditions: "the traditional craft of carving was closed to her...she attacked these logs with electric drills and saws."
After several exhibitions in New York and Rome, she was one of 10 artists invited by Giovanni Carandente, with David Smith, Alexander Calder, Arnaldo Pomodoro, Lynn Chadwick, Pietro Consagra, to fabricate works in Italsider factories in Italy for an outdoor exhibition, Sculture nella città, held in Spoleto during the summer of 1962. Working directly in the factory, as she would with subsequent major sculptures, Pepper created The Gift of Icarus, Spring Landscape, two other large works, 17 smaller ones; as the 1960s progressed, Pepper turned to using polished stainless steel. In some of the first works, she used a torch to carve used one-inch thick elements of stainless steel. From there, her pieces evolved into polished stainless with painted interiors, they are illusionary works that reappear, mirroring the surrounding landscape. In an interview with the art historian, Barbara Rose, Pepper said "Another effect I'm trying to obtain with this bright finish is not illusion, but the inclusion of the person looking at it, so that there's a constant exchange going on between the viewer and the work...
My aim here is to invest space with a solidity by filling it with the world around it."All of Pepper's sculptures from the beginning of her sculptural career were displayed outdoors. She began her experiments using earth to contain a sculpture. "In the seventies I developed the concept of "Earthbound Sculptures", sculptures born in or rising up from the earth." Becoming more involved with her native New York in the 1970s, her progressive ideas became realized in commissions such as her seminal work Amphisculpture. Furthering her vocabulary in steel, throughout this time period she used Cor-ten steel. While working at a U. S. steel factory in Conshohocken, she was given Cor-ten steel. Relishing in the exposed rusted surfaces of Cor-ten, she made pieces like Dallas Land Canal, she was, in fact, one of the first artists, if not the first, to incorporate Cor-Ten steel into sculpture. Beginning in the 1970s, to the present day, she has lived a bi-continental life traveling between Europe and the United States.
In the 1980s and 1990s, Pepper made works such as Cromlech Glen and Sol i Ombra. The works blend nature with industrial materials, as well as inviting the viewer to be a part of the work —"a total environment." Palengenesis exhibits her fascination with cast iron during this period. Barbara Rose explains "The theme of Palingenesis is of one element born from another, expressed by a sequence of vertical elements that separate from a wall that generates them; the vertical elements progressively become detached from their context as children individualize themselves from a parent. These themes of genesis and continuity are central to Pepper's iconography." In the Barcelona park, Sol I Ombra, the reflective seductive stainless steel of her earlier works morphed into a ceramic structure, Cel Caigut. Rose suggests "Cel Caigut is content–specific as well as site-specific. In an homage to Gaudi, the great turn-of-the-century Catalan architect, Pepper covered the earth mound with shimmering ceramic tile, the material Gaudi used in his famous Park Guell."Recently, Pepper completed another park project for the city of Calgary, Canada Calgary Sentinels and Hawk Hill.
Pepper says, "I believe my work offers a place for reflection and contemplative thought within the context of active urban environments."Pepper has her studio in Todi, a hill town in Umbria, Italy. She