Lynn Russell Chadwick, was an English sculptor and artist. Much of his work is semi-abstract sculpture in steel, his work is in the collections of MoMA in New York, the Tate in London and the Centre Georges Pompidou in Paris. Chadwick was born in the suburb of Barnes, in western London, attended Merchant Taylors' School in Northwood. While there he expressed an interest in being an artist, though his art master suggested architecture was a more realistic option. Accordingly, Chadwick became a trainee draughtsman, working first at the offices of architects Donald Hamilton and Eugen Carl Kauffman, for Rodney Thomas. Chadwick took great inspiration from Thomas, whose interest in contemporary European architecture and design had a significant effect on his development, his training in architectural drawing was the only formal education. He recalled: "What it taught me was how to compose things, a formal exercise in composition it has nothing to do with the building it represents". In April 1941, having been a conscientious objector, Chadwick volunteered to serve in the Fleet Air Arm, in 1941–1944 he served as a pilot during the Second World War escorting Atlantic convoys.
After the war, Chadwick returned to Rodney Thomas where he became involved in the design of trade-fair stands. In March 1946, he won a £50 prize in a textile design competition, which led to a contract to produce more designs for Zika and Lida Ascher who had promoted the's' removed competition and who owned a textile design firm. Around the same time, Chadwick was commissioned to make exhibition stands for the Aluminium Development Corporation. Chadwick constructed his first mobile around 1947 – which originated from ideas first proposed by Rodney Thomas. Few of these works survive; some were incorporated as decorative features in exhibition stands, while others found homes amongst Thomas and his circle. He developed ground supports for the mobiles, transforming them into what he called "stabiles". At the same time, he was designing fabrics and furniture. Recalling this period, Chadwick said: I wanted to produce a sort of touchable object, a tangible object. I wanted to do that rather than be involved with intangible things like architecture, intangible to me because it had meant, in my case, drawing after drawing after drawing for projects which were never realised.
In my case, I wanted to do it to have some reality in front of me. Desiring a better family life and more room to work, Chadwick left London in 1947 settling in the hamlet of Upper Coberley, near Cheltenham. Here he converted outbuildings into a working studio in which he worked on his designs and his first sculptures. In September 1958, Chadwick bought a historic manor house in Gloucestershire; the building is Neo-Gothic in style, with outbuildings and extensions having been added to the house both in 1800 and in 1870. "This place was the same price as a three-bedroom house... and nobody wanted it, so... I came here, it was sort of wonderful, making another room habitable every year". He set up a studio in the medieval chapel. Chadwick made it his project to restore the garden. In 1986 he began to place his work there. In August 1949 one of Chadwick's small mobiles was placed in the window of Gimpel Fils, which promoted modern British art; the following year, he held his first one-man show there, which led to critical attention and several major commissions: two for the 1951 Festival of Britain complex and Cypress, one, Green Finger, for the Battersea Park Open Air Sculpture Exhibition that year In Spring 1950, British architects and designers were making plans for the celebrations surrounding the 1951 Festival of Britain.
Jane Drew commissioned Chadwick to make a large-scale hanging mobile for the tower of her Riverside Restaurant on London's South Bank site, Tower Mobile. Architect Misha Black commissioned Chadwick to make a large fixed sculpture for the garden of the Regatta Restaurant, made from copper sheets and brass rods; this work was significant in. In April 1951 Chadwick received a commission from the Arts Council of Great Britain for a large sculpture, The Fisheater for the Festival of Britain; this was exhibited at the Tate Gallery from autumn 1951 through most of 1952. Working on this larger scale, Chadwick became aware that the techniques required for welding iron, steel and copper would need learning, so in the summer of 1950 he enrolled in a welding course at the British Oxygen Company's Welding School at Cricklewood, north London. Chadwick felt. In March 1951 he was invited to exhibit with the American Abstract Artists Group in New York. In January 1952, Chadwick was asked to present to the selection committee of the XXVI Venice Biennale, resulting in his being one of eight young British sculptors who were invited to exhibit at the Biennale, including Robert Adams, Kenneth Armitage, Reg Butler, Geoffrey Clarke, Bernard Meadows, Eduardo Paolozzi and William Turnbull.
The critical response was positive. The poet and art critic Herbert Read wrote the introduction to the catalogue for this show, called New Aspects of British Sculpture, he described Chadwick's work, in what was to become a long-held interpretation, situating it alongside quotes from T. S. Eliot's The Waste Land against the backdrop of the C
Alexander Calder was an American sculptor, best known for his innovative mobiles that embrace chance in their aesthetic and his monumental public sculptures. Born into a family of artists, Calder's work first gained attention in Paris in the 1920s and was soon championed by the Museum of Modern Art in New York, resulting in a retrospective exhibition in 1943. Major retrospectives were held at the Solomon R. Guggenheim Museum and the Museum of Contemporary Art, Chicago. Calder's work is in many permanent collections, most notably in the Whitney Museum of American Art, but the Guggenheim Museum. C.. He produced many large public works, including.125, Pittsburgh Spirale and Universe, Mountains and Clouds. Although known for his sculpture, Calder created paintings and prints, theater set design, jewelry design and rugs, political posters. Calder was honored by the US Postal Service with a set of five 32-cent stamps in 1998, received the Presidential Medal of Freedom, posthumously in 1977, after refusing to receive it from Gerald Ford one year earlier in protest of the Vietnam War.
Alexander "Sandy" Calder was born in 1898 in Pennsylvania. His actual birthday, remains a source of confusion. According to Calder's mother, Calder was born on August 22, yet his birth certificate at Philadelphia City Hall, based on a hand-written ledger, stated July 22; when Calder's family learned about the birth certificate, they reasserted with certainty that city officials had made a mistake. Calder's grandfather, sculptor Alexander Milne Calder, was born in Scotland, had immigrated to Philadelphia in 1868, is best known for the colossal statue of William Penn on top of Philadelphia City Hall's tower, his father, Alexander Stirling Calder, was a well-known sculptor who created many public installations, a majority of them in nearby Philadelphia. Calder's mother was a professional portrait artist, who had studied at the Académie Julian and the Sorbonne in Paris from around 1888 until 1893, she moved to Philadelphia, where she met Stirling Calder while studying at the Pennsylvania Academy of the Fine Arts.
Calder's parents married on February 22, 1895. Alexandrr Calder's sister, Mrs. Margaret Calder Hayes, was instrumental in the development of the UC Berkeley Art Museum. In 1902, Calder posed nude for his father's sculpture The Man Cub, a cast of, now located in the Metropolitan Museum of Art in New York City; that same year he completed his earliest sculpture, a clay elephant. Three years Alexander's father contracted tuberculosis, Calder's parents moved to a ranch in Oracle, leaving the children in the care of family friends for a year; the children were reunited with their parents in late March 1906 and stayed at the ranch in Arizona until autumn of the same year. After Arizona, the Calder family moved to California; the windowed cellar of the family home became Calder's first studio and he received his first set of tools. He used scraps of copper wire. On January 1, 1907, Nanette Calder took her son to the Tournament of Roses Parade in Pasadena, where he observed a four-horse-chariot race; this style of event became the finale of Calder's miniature circus performances.
In the fall of 1909, the Calder family moved back to Philadelphia, where Calder attended Germantown Academy moved to Croton-on-Hudson, New York. That Christmas, he sculpted a duck out of sheet brass as gifts for his parents; the sculptures are three-dimensional and the duck is kinetic because it rocks when tapped. In Croton, during his early high school years, Calder was befriended by his father's painter friend Everett Shinn with whom he built a gravity powered system of mechanical trains. Calder described it, "We ran the train on wooden rails held by spikes. We lit up some cars with candle lights". After Croton, the Calders moved to Spuyten Duyvil to be closer to New York City, where Stirling Calder rented a studio. While living in Spuyten Duyvil, Calder attended high school in nearby Yonkers. In 1912, Stirling Calder was appointed acting chief of the Department of Sculpture of the Panama–Pacific International Exposition in San Francisco and began work on sculptures for the exposition, held in 1915.
During Calder's high school years, the family moved forth between New York and California. In each new location, Calder's parents reserved cellar space as a studio for their son. Toward the end of this period, Calder stayed with friends in California while his parents moved back to New York, so that he could graduate from Lowell High School in San Francisco. Calder graduated with the class of 1915. Alexander Calder's parents did not want him to be an artist, so he decided to study mechanical engineering. An intuitive engineer since childhood, Calder did not know what mechanical engineering was. "I was not sure what this term meant, but I thought I'd better adopt it", he wrote in his autobiography. He enrolled at the Stevens Institute of Technology in Hoboken, New Jersey, in 1915; when asked why he decided to study mechanical engineering instead of art Calder said, "I wanted to be an engineer because some guy I rather lik
Arthur Eric Rowton Gill was an English sculptor, typeface designer, printmaker, associated with the Arts and Crafts movement. He is a controversial figure, with his well-known religious views and subject matter viewed as being at odds with his sexual behaviour, including his erotic art and sexual abuse of his daughters and dog. Gill was named Royal Designer for Industry, the highest British award for designers, by the Royal Society of Arts, he became a founder-member of the newly established Faculty of Royal Designers for Industry. Gill was born in 1882 in Hamilton Road and grew up in the Brighton suburb of Preston Park. One of twelve children, he was the elder brother of the graphic artist. In 1897 the family moved to Chichester, he studied at Chichester Technical and Art School, in 1900 moved to London to train as an architect with the practice of W. D. Caroe, specialists in ecclesiastical architecture. Frustrated with his training, he took evening classes in stonemasonry at the Westminster Technical Institute and in calligraphy at the Central School of Arts and Crafts, where Edward Johnston, creator of the London Underground typeface, became a strong influence.
In 1903 he gave up his architectural training to become a calligrapher, letter-cutter and monumental mason. Working from Ditchling in Sussex, where he lived with his wife, in 1910 Gill began direct carving of stone figures; these included Madonna and Child, which English painter and art critic Roger Fry described in 1911 as a depiction of "pathetic animalism", Ecstasy. Such semi-abstract sculptures showed Gill's appreciation of medieval ecclesiastical statuary, Egyptian and Indian sculpture, as well as the Post-Impressionism of Cézanne, van Gogh and Gauguin, his first public success was Child. A self-described "disciple" of the Ceylonese philosopher and art historian Ananda Coomaraswamy, Gill was fascinated during this period by Indian temple sculpture. Along with his friend and collaborator Jacob Epstein, Gill planned the construction in the Sussex countryside of a colossal, hand-carved monument in imitation of the large-scale Jain structures at Gwalior Fort in Madhya Pradesh, to which he had been introduced by William Rothenstein.
In 1914 Gill produced sculptures for the stations of the cross in Westminster Cathedral. In the same year he met the typographer Stanley Morison. After the war, together with Hilary Pepler and Desmond Chute, Gill founded The Guild of St Joseph and St Dominic at Ditchling. There his pupils included David Jones, who soon began a relationship with Petra. Gill designed several war memorials after the First World War, including the Grade II* listed Trumpington War Memorial. Commissioned to produce a war memorial for the University of Leeds, Gill produced a frieze depicting Jesus driving the money-changers from the temple, showing contemporary Leeds merchants as the money-changers. Gill contended; this is at the Michael Sadler Building at the University. In 1924, Gill moved to Capel-y-ffin in Powys, where he established a new workshop, to be followed by Jones and other disciples. In 1928, he set up a printing press and lettering workshop in Buckinghamshire, he took on a number of apprentices, including David Kindersley, who in turn became a successful sculptor and engraver, his nephew, John Skelton, noted as an important letterer and sculptor.
Other apprentices included Donald Potter and Walter Ritchie. Others in the household included Gill's two sons-in-law, Petra's husband Denis Tegetmeier and Joanna's husband Rene Hague. In 1928–29, Gill carved three of eight relief sculptures on the theme of winds for Charles Holden's headquarters for the London Electric Railway at 55 Broadway, St James's, he carved a statue of the Child for the west door of the chapel at Marlborough College. In 1932, Gill produced a group of sculptures and Ariel, others for the BBC's Broadcasting House in London. In 1934, Gill visited Jerusalem, he carved a stone bas-relief of the meeting of Asia and Africa above the front entrance together with ten stone reliefs illustrating different cultures and a gargoyle fountain in the inner courtyard. He carved stone signage throughout the museum in English and Arabic. Gill was commissioned to produce a sequence of seven bas-relief panels for the façade of The People's Palace, now the Great Hall of Queen Mary University of London, which opened in 1936.
In 1937, he designed the background of the first George VI definitive stamp series for the post office. In 1938 Gill produced The Creation of Adam, three bas-reliefs in stone for the Palace of Nations, the League of Nations building in Geneva, Switzerland. During this period he was made a Royal Designer for Industry, the highest British award for designers, by the Royal Society of Arts and became a founder-member of the Faculty of Royal Designers for Industry when it was established in 1938. In April 1937, Gill was elected an Associate member of the Royal Academy. Gill's only complete work of architecture was St Peter the Apostle Roman Catholic Church in Gorleston, built in 1938–39; the Art Deco Midland Hotel was built in 1932–33 by the London Midland & Scottish Railway to the design of Oliver Hill and included works by Gill, Marion Dorn and Eric Ravilious. For the project, Gill produced: two seahorses, modelled as Morecambe shrimps, for the outside entrance a round plaster relief on the ceiling of the circular staircase inside the hotel a decorative wall map of the north west of England a large stone relief of Odysseus being welcomed from t
Dimitri Hadzi was an American abstract sculptor who lived and worked in Cambridge and taught at Harvard University for over a decade. Hadzi was born to Greek-American immigrant parents in Greenwich Village, New York City on March 21, 1921; as a child, he attended a Greek after-school program, where he learned language, mythology and theater. He won a prize for drawing. After graduating from Brooklyn Technical High School, he worked as a chemist, while continuing his studies in chemistry by night. In 1942, he signed up for the Army Air Force, serving in the South Pacific region while continuing to draw in his spare time. After his service, he returned to New York to study sculpture at Cooper Union. Hadzi taught studio arts at Harvard University, from 1975 to 1989, he married Martha Leeb, but divorced. In June 1985, he married Cynthia von Thuna. Centaur, in the garden of Prospect House in Princeton, New Jersey K. 458 The Hunt, Avery Fisher Hall, New York City, refers to Mozart's String Quartet in B flat, K. 458 River Legend, Edith Green - Wendell Wyatt Federal Building, Oregon, a free-standing monumental stone arch Thermopylae, John F. Kennedy Federal Building, Boston Propylaea, a sculptural fountain in Toledo, Ohio Omphalos at Harvard Square MBTA station through the Arts on the Line program, but was to be relocated to Rockport, Massachusetts Helmet V, Hirshhorn Museum and Sculpture Garden, Washington DC Red Mountains, Hugo L. Black United States Courthouse, Alabama.
The sculpture, installed in 1991, was removed in 2012 for renovations to the building. A provision of the 2014 Financial Appropriations Act barred the General Services Administration from replacing it for fear that it could be used to shield an attacker. Elmo V, The Governor Nelson A. Rockefeller Empire State Plaza Art Collection, Albany, NY 1957 Guggenheim Fellow 1962 Venice Biennale 1974 Rome Prize 1990 National Academy of Design, Associate member 1994 National Academy of Design, full Academician Some of Hadzi's public artworks have been removed since his death, as noted above. In addition to the named works, a 60-foot high sculptural fountain designed by him was demolished and removed circa 2014, despite protests by his widow and other commentators; the artwork was the centerpiece of Boston's Copley Place indoor shopping mall, was composed of multiple abstract granite and travertine marble shapes, with a waterfall cascading down it into a shallow pool at the bottom, surrounded by marble benches.
As of 2017, the fountain had been removed, the location and status of its components were unknown to the general public. Official website Oral history interview with 1981 Jan.. 2-1990 Mar. 9
Peter Voulkos was an American artist of Greek descent. He is known for his abstract expressionist ceramic sculptures, which crossed the traditional divide between ceramic crafts and fine art, he established the ceramics department at UC Berkeley. Peter Voulkos was born the third of five children to Greek immigrant parents, Aristovoulos I. Voulkopoulos and shortened to Harry John Voulkos and Effrosyni Peter Voulalas. After high school, he worked as a molder's apprentice at a ship's foundry in Portland. In 1943, Peter Voulkos was drafted in the United States Army during the Second World War, serving as an airplane gunner in the Pacific. Voulkos studied painting and printmaking at Montana State College, in Bozeman, where he was introduced to ceramics. Ceramics became a passion, his 25 pounds of clay allowed by semester by the school was not enough, so he managed to spot a source of quality clay from the tires of the trucks that would stop by the Burger Inn where he worked part-time. He earned his MFA in ceramics in Oakland.
Afterwards he returned to Bozeman, began his career in a pottery business with classmate Rudy Autio, producing functional dinnerware. In 1951 Voulkos and Autio became the first resident artists at the Archie Bray Foundation for the Ceramic Arts, in Helena, Montana, it is from his time as Resident Director that the lineage of his mature work in full bloom during his tenure at the Otis Art Institute in Los Angeles, can be traced. In 1953, Voulkos was invited to teach a summer session ceramics course at Black Mountain College in Asheville, North Carolina. After the summer at Black Mountain, he changed his approach to creating ceramics; the artist eschewed his traditional training and instead of creating smooth, well-thrown glazed vessels he started to work gesturally with raw clay marring his work with gashes and punctures. In 1954, after founding the art ceramics department at the Otis College of Art and Design, called the Los Angeles County Art Institute, his work became abstract and sculptural.
In 1959, he presented for the first time his heavy ceramics during the exhibition at the Landau Gallery in Los Angeles. This created a sismic reaction in the ceramics world, both for the grotesquerie of the sculptures' shapes and the genious marriage of arts and craft, accelerated his transfer to UC Berkeley, he moved to the University of California, Berkeley, in 1959, where he founded the ceramics program, which grew into the Department of Design. In the early 1960s, he set up a bronze foundry off-campus, anticipating the metalcasted Wurster Hall, started exhibiting his work at NY's Museum of Modern Art, he became a full professor there in 1967, continued to teach until 1985. Among his students were many ceramic artists who became well known in their own right. At a New York auction in 2001, a 1986 sculpture by Peter Voulkos was sold $72,625 to a European museum, he died of a heart attack on February 16, 2002, after conducting a college ceramics workshop at Bowling Green State University, demonstrating his skill to a live audience.
While his early work was fired in electric and gas kilns in his career he fired in the anagama kiln of Peter Callas, who had helped to introduce Japanese wood firing aesthetics in the United States. Peter Voulkos is among those who raised ceramics to the non-utilitarian, aesthetic sphere. While setting up the ceramics department at UC Berkeley, his students were authorized to make a tea pot «only if it didn't work». Voulkos started this new trend while in Los Angeles in the 1950s, saying «there was a certain energy around L. A. at the time». He is most identified as a Abstract Expressionist ceramist. Voulkos's sculptures are known for their visual weight, their freely-formed construction and their aggressive and energetic decoration. During shaping he would vigorously tear and gouge their surfaces. At some points in his career, he cast sculptures in bronze. Peter Voulkos is memorable for the live ceramics-scultping sessions he would lead in front of his students, demonstrating live the hard work being his ceramics style, his talent throughout this process.
His creativity quest sometimes led to the use of commercial dough-mixing machines to mix the clay, the development of a prototype for an electric potter's wheel. In 1979 he was introduced to the use of wood firing in anagama kilns by Peter Callas, who became his collaborator for the next 23 years. Most of Voulkos's late work was wood-fired in Callas's anagama, located at first in Piermont, New York, in Belvidere, New Jersey; this unique partnership, the resulting work, is considered by many curators and collectors to be the most exuberant period of Voulkos's career. Hall of justice, 1971, bronze Mr. Ishi, 1970, Untitled, 1980, exhibited at the Oakland Museum of California American Museum of Ceramic Art, di Rosa Honolulu Museum of Art Japanese Folk Crafts Museum National Gallery of Victoria Metropolitan Museum of Art Museum of Modern Art Governor Nelson A. Rockefeller Empire State Plaza Art Collection National Museum of Modern Art, Kyoto Oakland Museum of California Philadelphia Museum of Art Smithsonian Institution Stedelijk Museum Amsterdam University of Iowa Muse
Pietro Consagra was an Italian sculptor. In 1947 he was among the founding members of the Forma 1 group of artists, who advocated both Marxism and structured abstraction. Consagra was born on 6 October 1920 in Mazara del Vallo, in the province of Trapani in south-western Sicily, to Luigi Consagra and Maria Lentini. From 1931 he enrolled in a trade school for sailors, studying first to become a mechanic, to become a captain. In 1938 he moved to Palermo. After the Invasion of Sicily and the Allied occupation of Palermo in 1943, Consagra found work as a caricaturist for the American Red Cross club of the city. Early in 1944, armed with a letter of introduction from an American officer, he travelled to Rome. There he came into contact with the Sicilian artist Concetto Maugeri, through him with Renato Guttuso, Sicilian and who introduced him to the intellectual life of the city and to other artists such as Leoncillo Leonardi, Mario Mafai and Giulio Turcato. Consagra signed up at the Accademia di Belle Arti di Roma in September 1944 and studied sculpture there under Michele Guerrisi, but left before completing his diploma.
In 1947, with Carla Accardi, Ugo Attardi, Piero Dorazio, Mino Guerrini, Achille Perilli, Antonio Sanfilippo and Giulio Turcato, Consagra started the artist's group Forma 1, which advocated both Marxism and structured abstraction. Consagra's work began to find an audience. Working in metal, in marble and wood, his thin carved reliefs, began to be collected by Peggy Guggenheim and other important patrons of the arts, he showed at the Venice Biennale eleven times between 1950 and 1993, in 1960 won the sculpture prize at the exhibition. During the 1960s he was associated with the Continuità group, an offshoot of Forma I, in 1967 taught at the School of Arts in Minneapolis. Large commissions allowed him to begin working on a more monumental scale, works of his were installed in the courtyard of the Foreign Ministry in Rome and in the European Parliament, Strasbourg, his work is found in the collections of The Tate Gallery, London, in Museo Cantonale d'Arte of Lugano and the Museum of Modern Art and the National Gallery of Art in Washington, D.
C.. Consagra returned to Sicily. With Senator Ludovico Corrao, he helped created an open-air museum in the new town of Gibellina, after the older town had been destroyed in the earthquake of 1968. Consagra designed the gates to the town's entrance, the building named "Meeting" and the gates to the cemetery, where he was buried. In 1952 Consagra published La necessità della scultura, a response to the essay La scultura lingua morta, published in 1945 by Arturo Martini. Other works include L'agguato c'è, La città frontale, his autobiography, Vita Mia, was published by Feltrinelli in 1980. In 1989 a substantial retrospective exhibition of work by Consagra was shown at the Galleria Nazionale d'Arte Moderna in Rome. In 1991 his work was shown in the Hermitage Museum in St. Petersburg. In 2002 the Galerie der Stadt Stuttgart opened a permanent exhibition of his work
Robert Graham (sculptor)
Robert Graham was a Mexican-born American sculptor based in the state of California in the United States. His monumental bronzes commemorate the human figure, are featured in public places across America. Graham was born in Mexico on Aug. 19, 1938, to Roberto Pena and Adelina Graham. Roberto Pena died when his son was six years old, the boy, his mother Adelina, his grandmother Ana, his aunt Mercedes left Mexico and moved to San Jose, California. Robert Graham received his formal art training at San Jose State University and the San Francisco Art Institute, he continued his studies at the San Francisco Art Institute in California, finishing in 1964. By the late 1960s, Graham had one-man exhibitions of his sculpture at important contemporary art galleries in Palo Alto, Los Angeles, New York City, London and Essen, Germany. He, along with family members Joey and Steven, lived in London for a period before settling in Los Angeles in the early 1970s, his first solo exhibition in a museum was at the Dallas Museum of Art in 1972.
Since he has had dozens of one-man shows, including several at the Los Angeles County Museum of Art. Graham used a range of scales in his work. In the 1970s he created small wax sculptures in miniature dioramas, depicting people interacting in various contemporary environments, such as a living room or a beach scene; some of these interactions included sexual congress. Graham's 1986 monument to the boxer Joe Louis is a 24 feet bronze forearm, he has created hundreds of nude groupings in intermediate scales. Graham's first major monumental commission was the ceremonial gateway for the Los Angeles Memorial Coliseum, for the occasion of the 1984 Olympics, he designed the commemorative silver dollar for the event. The gateway featured two bronze torsos and female, modeled on contestants in the games; the gateway was a major design element of an Olympiad noted for its lack of new construction. To the surprise of many, the nudity of the torsos became an issue in the media. After 1984, Graham received many other commissions for monumental works, such as The Great Bronze Doors of the Cathedral of Our Lady of the Angels in Los Angeles.
Graham is represented by: Bivins Gallery in Dallas, Texas. Graham married his first wife Joey Graham in 1959, they have one son, born in 1963. He married actress Anjelica Huston in 1992, they resided in an unusual dwelling in Venice, California. Huston refused to move to the bohemian area; the result was a windowless structure behind an opaque 40-foot fence. Graham made a cameo appearance in Huston's movie, The Life Aquatic with Steve Zissou, as the Venezuelan general near the beginning of the film standing on the deck of the ship. Wes Anderson mentions in the movie's commentary that Graham has some aspects in common with Steve Zissou. In 1983, Graham was elected into the National Academy of Design as an Associate member, became a full Academician in 1994. California Governor Arnold Schwarzenegger and First Lady Maria Shriver announced on May 28, 2008 that Graham would be inducted into the California Hall of Fame, located at The California Museum for History and the Arts; the induction ceremony took place on December 15, 2008 but he was too ill to attend.
His son Steven accepted the award on his behalf as he was inducted alongside 11 other legendary Californians. After an illness of about six months, Graham died on December 27, 2008 at Santa Monica - UCLA Medical Center in Los Angeles, his funeral was held at Cathedral of Our Lady of the Angels, which has bronze doors that Graham created for the cathedral. His remains are interred in the Crypt Mausoleum of the Cathedral of Our Lady of the Angels. 1978: Dance Door - Los Angeles Music Center, Los Angeles, California 1980–81: Stephanie and Spy - Hammer Museum, University of California, Los Angeles Campus, Los Angeles, California 1983: Fountain Figure No. 1, Fountain Figure No. 2, Fountain Figure No. 3, Museum of Fine Arts, Houston 1984: Olympic Gateway - Memorial Coliseum, Los Angeles, California 1986: Joe Louis Memorial, Michigan 1988: Gates of the Honolulu Museum of Art Spalding House 1994: Plumed Serpent, Plaza de César Chávez, San Jose, California 1997: First Inaugural and Social Programs, Franklin Delano Roosevelt Memorial, Washington, D.
C. 1997: Duke Ellington Monument - Central Park, New York City 1999: Charlie "Bird" Parker Memorial, Kansas City, Missouri 2001: Prologue - addition to the FDR Memorial, Washington, D. C. 2002: The Great Bronze Doors and Statue of Mary - Cathedral of Our Lady of the Angels, Los Angeles, California 2003: Torso - Rodeo Drive Walk of Style, Beverly Hills, California 2003: Deus Ex: Invisible War, the voice of Saman 2007: Spirit of California - California Hall of Fame Medal Official website IMDB Profile