Docent Notes 57, Part 1

Docent Notes
Docent
Notes
Part 1
(Draft 56)
1
Docent NotesDocent Notes
By Marvin Israel, mmi@acm.org, with comments and additions from Arianne Kassof, Floyd Frank,
Elaine Jacob, Joan Schornstaedt, Volker Arendt, Jody Kendall, Charlotte Grodzki, D.J. Haslett (DJ),
Curt Conrad, Linda Pickering, Joan Schornstaedt, Grace Hsu, Lynn Declemente, Christina Ely, and
others.
2
Docent Notes
The roles sculpture parks and gardens play are as diverse as the parks and gardens
themselves ...... In contrast to interior exhibitions, frequently held in pristine white
rooms ... sculpture parks offer the visitor an open, natural space in which to approach
the work and become acquainted with it from every possible viewpoint. The air of
exclusivity is lost ...... By virtue of being outdoors, the sculpture is in a familiar,
informal territory, a communal space, a natural as opposed to an artificial setting ......
Sculpture has left the building. Brooke Barrie
Art is the imposing of a pattern on experience and our aesthetic enjoyment in
recognition of the pattern. - Alfred North Whithead
In order for a thing to become interesting, one has only to look at it for a long time. -
Gustav Flaubert
“I want my work to disappear into the landscape and then take a viewer by surprise.
After he gets over the shock of being fooled, it becomes an emotional discovery. Then
the viewer has a personal claim on the work. People often revisit their favorites. They
become like friends. J. Seward Johnson
“…it’s easy sometimes to forget the simple things that give us pleasure. If we open our
eyes, life is marvelous. The human spirit triumphs, if only for moments in a day. I try to
have my work call attention to those moments. ... J. Seward Johnson
This is a draft! It can be made much better with your contributions and suggestions. Please send
comments to Marvin Israel, mmi@acm.org. For example, Joan Schornstaedt sent me notes she
uses on tours and I quote her below.
I have not deleted entries if the sculpture has been removed, however, the first word in the entry
is "Removed."
The material in Docent Notes comes from the Grounds for Sculpture web site, artist’s web sites,
the GFS Docents Study Group, EXPRESSIONS, and other sources. See
http://www.groundsforsculpture.com and other sites indicated throughout the text. They are all
listed in the index under "http." Photographs of many of the GFS sculptures are on sites such a
Flickr or in Docent Notes, Part 2.
If you cannot open the document you download, you may need a PDF reader. It is available for
free from http://www.adobe.com.
Docent Notes is formatted for two-sided printing. The inner margins are slightly larger to
accommodate punched holes. It can be provided in other formats. It is written in OpenOffice, a
widely used free program that can be downloaded from OpenOffice.org. The OpenOffice version
has advantages over PDF: contents are linked to the entries and you can save the document in MS
Word and many other formats.
Entries in the sculpture listing marked with an asterisk, *, indicate the entry has general
information about the artist that is not repeated in other entries. Extended notes and other material
of use to docents is in Docent Notes, Part2.
Please contact me at 609 933 1841 or mmi@acm.org if you have problems.
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Brief Contents – AreasBrief Contents – Areas
Brief Contents – Areas

Brief Contents – Areas................................................... 3
Detailed Contents – Sculptures..................................... 5
Introduction................................................................. 15
Aesthetics for Docents................................................ 17
Damascus Gate........................................................... 35
War Memorial/Promise/Doubles/Dana.......................... 57
Brilliance/Moby Dick/Water Garden/Courtyards...........72
Pegasus/Warming Hut/Monkey King............................89
Harmony/Equator/Dorian/Tabletop I........................... 115
Part of Nature/Rats.................................................... 126
Along the Way........................................................... 135
Seward Johnson Center for the Arts (SJCA)................143
Alphabetical Index..................................................... 145
4
Brief Contents – Areas
5
Detailed Contents – SculpturesDetailed Contents – Sculptures
Detailed Contents – Sculptures

Entries marked with and asterisk, *, contain additional material on the sculptor.
Brief Contents – Areas................................................... 3
Detailed Contents – Sculptures..................................... 5
Introduction................................................................. 16
Aesthetics for Docents................................................ 18

Aesthetic Objects.........................................................................................................19
Plato and Kant.............................................................................................................21
Universal Features of Art............................................................................................22
Universal Features of Art 1 - Dutton................................................................................... 23
Dutton's Web Site.......................................................................................................... 23
Critique of Dutton.......................................................................................................... 25
Universal Features of Art 2 – Ramachandran: The neurological basis of artistic universals 25
Universal Features of Art 3 - Siegal.................................................................................... 30
Universal Features of Art 4 – Pateman............................................................................... 31
Materials and Medium................................................................................................... 32
Use and Engagement..................................................................................................... 32
Concentrated and Floating Attention............................................................................. 33
Communicative and Expressive..................................................................................... 33
Knowing and Acknowledging........................................................................................ 34
Elements.......................................................................................................................35
References....................................................................................................................35
Damascus Gate........................................................... 37
Abakanowicz, Magdalena* - Space of Stone, 22 Elements.........................................37
Aeschlimann, Heinz - Composer I...............................................................................37
Barret, Bill - Efflorescence..........................................................................................38
Barton, James - Constellation.....................................................................................38
Benshalom, Itzik - Big Vered........................................................................................38
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Bullock, Benbow - Albebo...........................................................................................38

Cairns, Christopher - Lydia Mary...............................................................................40
Donnan, William - Pinched.........................................................................................41
Dusenbery, Walter* - Damascus Gate.........................................................................41
Ferris, Herb - Heart of Gold.......................................................................................41
Flemming, Linda - Ex-halations..................................................................................42
Fűkő, Béla - Internal Evolution...................................................................................42
Gund, Gordon - Flukes................................................................................................42
Gyampo, Michael - Matters of the Moment................................................................43
Hamburger, Sydney - Huerfano...................................................................................43
Held, Marion - Three Figures.....................................................................................45
Houser, Allan - Resting at the Spring..........................................................................45
Johnson, Seward - Confrontational Vulnerability.......................................................45
Johnson, Seward - The Hunting Party........................................................................48
Kalish, Howard - Urchin.............................................................................................49
Katzen, Lila - Pinkney.................................................................................................49
Mangold, Robert - PTTSAAES 8/01............................................................................49
Morante , G. Frederick - Nude Descending the Stare Case....................................... 50
Otterness, Tom - Z-DNA..............................................................................................50
Reginato, Peter* - Area 51..........................................................................................51
Rogers, Andrew - Flora Exemplar..............................................................................51
Rosati, James - Shorepoints I......................................................................................52
Siegel, Steven - Grass, Paper, Glass ..........................................................................53
Taradash, Meryl - The Caged Bird Dances II.............................................................53
Tobin, Steve - Roots.....................................................................................................53
Tobin, Steve - Termite Hills.........................................................................................54
Trapp, Wayne - Geometry of the Cosmos....................................................................54
Van de Bovenkamp, Hans - Cock-a-doodle-doo.........................................................55
Van de Bovenkamp, Hans - Sagg Portal.....................................................................55
Vladescu, Stefan - Love...............................................................................................56
Voulkos, Peter - Bucci and Missoula (two works).......................................................56
Wareham, William - Annoweeka..................................................................................57
Wibroe, Susanne - Eye on the Ball*............................................................................57
Witkin, Isaac* - Eolith.................................................................................................58
Wright, Autin Dean - Carmaleta.................................................................................60
War Memorial/Promise/Doubles/Dana.......................... 62
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Beck-Friedman, Tova - Excerpts of a Lost Forest: Homage to Ashera......................62

Brill, Curt - Dana........................................................................................................62
Cunnigham, Linda - War Memorial III.......................................................................63
Davis, David - Sound of 4th of July.............................................................................63
Dinnerstein, James - Canon........................................................................................63
Estridge, Larry - The Psalmist....................................................................................63
Higashida, Zero - Sinjin..............................................................................................64
Johnson, J. Seward - Dejeuner Déjà Vu......................................................................64
Johnson, J. Seward - Lakeside Table #1......................................................................65
Katzen, Lila - Aqua Libra............................................................................................65
Krikorian, Berj - Sparten.............................................................................................65
Lyles, Kevin - Passage.................................................................................................65
Martini, John - The Couple.........................................................................................65
McMillan, Scott - Promise...........................................................................................66
Mehlman, Ron - Compression and Expansion............................................................66
Pepper, Beverly - Split Ritual II...................................................................................66
Perlman, Joel* - High Spirit.......................................................................................67
Reginato, Peter - Lune Bleu and Mummenschanz (two works)..................................67
Ressler, Robert - Aluna................................................................................................67
Ressler, Robert - Baruch Ashem..................................................................................68
Roesch, Robert and Horvitz, Suzanne Reese - Transduction - Hamilton...................69
Spath, Christoph - Fluxus ...........................................................................................70
Stewart, Dana - 12 Fantasy Animals...........................................................................71
Stewart, Dana* - Lester...............................................................................................71
Stewart, Dana - Sue’s Nightmare ...............................................................................72
Sugerman, George - Doubles......................................................................................72
Vladescu, Stefan - Steel Flat........................................................................................73
Ward, Cilfford - Jubilant Dancer.................................................................................73
Wilson, Roy - Resting Place.........................................................................................74
Witkin, Isaac - Rapunzel Tree......................................................................................74
Rapunzel, the story......................................................................................................74
Brilliance/Moby Dick/Water Garden/Courtyards...........77

Abakanowitz, Magdalena - Sage B and Sage*............................................................77
Benazzi, Raffael - Primavera (Figure No. 1439)........................................................77
Benshalom, Itzak - Facing Couple*............................................................................77
Benton, Fletcher - Folded Circle Ring........................................................................78
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Blitz, Ava - Moby Dick.................................................................................................78

Caro, Anthony - Potpourri...........................................................................................78
Cline, Lyden - Several months before you were born, I was married a man who
wasn't your father........................................................................................................79
Crowder, Susan - Footpath..........................................................................................79
Devrishian, David Allen - Untitled (3 works).............................................................79
Dusenbery, Walter - Porta Stazzema...........................................................................80
Fisher, Rob - Windjammer...........................................................................................80
Frank, Mary - Sundial.................................................................................................80
Graves, Bradford - Bamboo Night and Hung the Flesh of Living Fish (two
sculptures)....................................................................................................................81
Gyampo, Mike - Just Chillin'.......................................................................................81
Hatcher, Brower - Time Reversing..............................................................................82
Howard, Joseph - Floating Arrangement....................................................................82
Isherwood, Jon - Secret Passage.................................................................................82
Jimenez, Luis - Mesteno..............................................................................................82
Johnson, J. Seward - Day Dream................................................................................82
Johnson, J. Seward - Eye of the Beholder...................................................................84
Johnson, J. Seward - King Lear .................................................................................84
Johnson, J. Seward - Summer Thinking .....................................................................84
Ketchman, Niki - Siren.................................................................................................84
King, William - Maus, Maybe, and Snack (3 works)...................................................84
Knapp, Stephan - Temple Talisman.............................................................................85
Lash, Jon - Frame Construction #5.............................................................................85
Lehman, Wendy - Boxwood.........................................................................................85
Liberman, Alexander - Entwined.................................................................................85
Loper, Sharon - Interior #5: Isolation.........................................................................86
Maron, Jeffrey - Padma's Dream................................................................................86
Martini, John - Sienna.................................................................................................86
McCarty, John - Bower................................................................................................86
Mills, Royden - Inside Elevation.................................................................................87
Mojsilov, Zoran - Cuckoo’s Nest.................................................................................89
Morante, G. Frederick - Relative................................................................................89
Murrey, Robert - Hillary..............................................................................................90
Musick, Pat - Groupo..................................................................................................90
Namingha, Dan - Symbolism I....................................................................................90
Oros, Mary - Henry Takes His First Steps..................................................................91
Pepper, Beverly* - Paolo E Francesca.......................................................................91
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Pepper, Beverly - Untitled ..........................................................................................91

Peterson, Karen - The Listener....................................................................................92
Pettigrew, Martha - Gossip..........................................................................................92
Rogers, Andrew - Leading...........................................................................................92
Ruppert, John - Pumpkins...........................................................................................92
Sablonsky, Jill - Awakening.........................................................................................93
Smith, Kiki - Untitled...................................................................................................93
Sternal, Tony - Vertical Form 92.8 and Vertical Form 92.10 (two works).................94
Tatarovitch, Katrina - Mirage.....................................................................................94
Wertheim, Gary - The Family......................................................................................94
Woytuk, Peter - Bull (#4 & 5) (two works)..................................................................94
Wright, Autin - Free Form II.......................................................................................94
Wright, Autin - Kordell................................................................................................94
Wright, Autin - The Sleep.............................................................................................94
Yang, Yuyu - Lunar Brilliance.....................................................................................95
Yang, Yuyu, Dragon's Shrill in the Cosmic Void.........................................................95
Pegasus/Warming Hut/Monkey King............................97

Abakanowicz, Magdalena - Hand-Like Tree: Cecyna................................................97
Aranovich, Claudia – Rupture.....................................................................................97
Benshalom, Itzik* - First Love....................................................................................97
Cairns, Christopher - Black Madonna........................................................................98
Colavita, James - Bell..................................................................................................98
Cooke, John and Goode, Daniel - Seat of Sound........................................................99
Danziger, Joan - October Gathering...........................................................................99
Dusenbery, Walter - Haystack...................................................................................100
Dusenbery, Walter - Tempio Bretton.........................................................................100
Ginnever, Charles - Scorpio......................................................................................100
Hatcher, Brower - Fan, Tower, and Wave (three works)...........................................102
Haviland, Sarah - Trio...............................................................................................102
Heinrich, Richard - Bridge........................................................................................102
Hollósy, Gyuri - Kathy B...........................................................................................103
Huntington, Jim - Ripper/Body Bone........................................................................103
Johnson, J. Seward - Contact....................................................................................103
Johnson, J. Seward - A Thought to Consider............................................................104
Johnson, J. Seward - Copyright Violation.................................................................104
Johnson, J. Seward- Family Secret...........................................................................105
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Johnson, J. Seward - If It Were Time.........................................................................105

Jun, Yum Hyung - Monkey King................................................................................105
Katzen, Lila - Loquacious Three...............................................................................105
Levy, Nina - Centaur..................................................................................................105
Lindsay, Bruce - Use of Memory...............................................................................106
Lundberg, Peter - Where is Geometry.......................................................................106
Mateescu, Patriciu - Haiku #5..................................................................................106
Meadmore, Clemet - Offshoot...................................................................................107
Namingha, Arlo - Dance............................................................................................107
Newman, John - Skyhook...........................................................................................107
Ogden, Jr., Samuel R. - Seven Prisms.......................................................................108
Oka Doner, Michele - Eve and Venus (two works)....................................................108
Payne, Kenneth - Spector..........................................................................................108
Pels, Marsha - Acheron ............................................................................................108
Perlman, Joel - Red Diamond...................................................................................109
Peterson, Karen* - Beast...........................................................................................109
Pfitzenmeier, Robert - Point of View.........................................................................109
Porcaro, Don - Data and Dust #4.............................................................................109
Putnam, Tony - Sacred Grove....................................................................................110
Ressler, Robert - Wave Hill........................................................................................110
Rutsch, Alexander - Dancers.....................................................................................110
Shaw, Ernst - Sumo....................................................................................................111
Steele, Larry - Shiva...................................................................................................111
Stielow, Hartmut - Zwei Quadrate.............................................................................112
Strang, Robert - Solemn.............................................................................................112
Strong-Cuevas - Arch II, Set II...................................................................................112
Strong-Cuevas - Two Face Telescope........................................................................112
Strzelec, Patric - Woman in a Bathtub.......................................................................113
Surls, James - Standing Vase with Five Flowers.......................................................113
Takaezu, Toshiko - Three Graces...............................................................................113
Theel, Gunnar - Nature's Laugh................................................................................114
Van Alstine, John - Schiabo Rounder........................................................................114
Van Alstine, John - Stone Pile....................................................................................114
Vanderbilt, Gloria - Heart's Desire...........................................................................114
Victor - Birth of the Messenger..................................................................................116
Wholley, Jay - La Casa de Bernardo Alba................................................................117
Witkin, Isaac - Garden State......................................................................................117
Witkin, Isaac - Hawthorne Tree II.............................................................................118
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Witkin, Isaac - Linden Tree........................................................................................118

Witkin, Isaac - Madam Butterfly................................................................................120
Witkin, Isaac* - Ode to Possum.................................................................................121
Young, Larry - Pegasus and Bellerophon .................................................................123
Young, Ron - Untitled................................................................................................123
Zweygardt, Glen - Allentown Council.......................................................................123
Harmony/Equator/Dorian/Tabletop I........................... 124

Anantharaman, Lalitha - Prana 7.............................................................................124
Beasely, Bruce - Dorion............................................................................................124
Capps, Kenneth - Equator (183, 230, 301, 339, Four Works)..................................125
Dorrien, Carlos - Nine Muses...................................................................................125
Dusenbery, Walter - Rocchetta..................................................................................126
Feuerman, Carole A. - Zeus and Hera II..................................................................126
Finke, Leonda - Standing Figure and Sitting Figure (two works)............................127
Grooms, Red - Henry Moore in a Sheep Meadow....................................................127
Hul, Petro - From the Heart & Fussballer (two works)...........................................128
Johnson, Jr., J. Seward - Erotica Tropicallis............................................................128
Kainz, Danial - Harmony 3.......................................................................................129
Kelsey, Sterett-Gittings - Alexandra-of -the-Middle-Patent and Attitude Croisée (two
works)........................................................................................................................129
Kendrick, Mel - Black Trunk.....................................................................................130
Leiro, Francisco - Skewered......................................................................................130
Lukasova, Helena - Inua............................................................................................130
Marisol, - General Bronze.........................................................................................131
Muick, Paul - Two Figure Composition....................................................................131
Newman, John - Brazen Sphere.................................................................................132
Parker, Barry - Lamentation.....................................................................................132
Perlman, Joel Tabletop I...........................................................................................133
Ruddick, Dorothy - Number II...................................................................................133
Segal, George - Depression Bread Line....................................................................133
Strong-Cuevas - Arch II ............................................................................................134
Van Tongeren, Herk - Teatro XI.................................................................................134
Witkin, Isaac - The Bathers.......................................................................................134
Zinman, Rhea – Couple, Dual Form, Pillars, Reclining Woman (four works) .......134
Part of Nature/Rats.................................................... 135
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Accardo, Anthony - Breaking Through......................................................................135

Brzezinski, Emilie Benes - Lintel...............................................................................135
Benton, Fletcher - Folded Square Alphabet “J”......................................................135
Bullock, Benbow - Pillars of Hercules......................................................................136
Dinnerstein, James - For Instance............................................................................136
Dinnerstein, James - Still Speach .............................................................................136
Doner, Michele Oka - Ice Ring & Radiant Disk (two works) ..................................136
Farlowe, Horace - Circular Rest...............................................................................136
Farlowe, Horace - Portal Rest..................................................................................137
Feuerman, Carol - Employee's Shower.....................................................................137
Grausman, Philip - Leucantha..................................................................................138
Hehemann, Barry - Forth of Firth of Forth..............................................................138
Henry, John - Reclining Refuge.................................................................................139
Hostetler, David - Summertime Lady........................................................................139
Ikenson, Seymour - Spider.........................................................................................139
Johnson, J. Seward - Designated Coachman............................................................140
Johnson, J. Seward - La Promenade.........................................................................140
Johnson, J. Seward - On a Poppied Hill...................................................................140
Johnson, J. Seward - Part of Nature.........................................................................141
Johnson, J. Seward - Pondering the Benefits of Exercise.........................................141
Johnson, J. Seward - Sailing on the Seine.................................................................142
Johnson, J. Seward - There My Little Pretties..........................................................142
Johnson, J. Seward - Were You Invited? ...................................................................142
Lash, Jon - Innocence................................................................................................146
Menna, Joseph - Daphne...........................................................................................146
Ogden, Linda M. - Torso...........................................................................................146
Perlman, Joel - Southern Star...................................................................................146
Shaffer, Mary - Forth.................................................................................................147
Van Alstine, John - Juggler........................................................................................147
Warner, Dona - Sometimes Wander...........................................................................147
Wertheim, Gary - Kneeling Woman...........................................................................147
Wright, Autin - Regina...............................................................................................147
Along the Way........................................................... 149

Lynds, Clyde - Transit (ATW)....................................................................................149
Kaslow, Lisa - Progression (ATW)............................................................................149
Grygutis, Barbara - Railgate (ATW).........................................................................149
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Alston, Littleton – Tree of Life (ATW).......................................................................149

Bell, Larry – Sumerian figures 14 and 23 (ATW).....................................................150
Benton, Fletcher - Wheels.........................................................................................150
Cemin, St. Clair – Hood Ornament (ATW)...............................................................150
Gordan, Harry H. – Ghat (ATW)..............................................................................150
Henry, John – Grand Rouge (ATW)..........................................................................150
Johnson, J. Seward – Comprehension (ATW)...........................................................152
Johnson, J. Seward – First Ride (ATW)....................................................................152
Johnson, J. Seward – King Lear (ATW)....................................................................153
Johnson, J. Seward – The Tooth (ATW)....................................................................153
Katz, Ray – Around the Gateway (ATW)...................................................................153
King, William – Unitas (ATW)...................................................................................153
Liberman, Alexander – Daedalus (ATW)..................................................................153
McFann, Garret Dean - The Four Amigos (ATW)....................................................154
Martini, John - Head 2 Head (ATW).........................................................................154
Menna, Joseph – John Henry (ATW)........................................................................154
Newman, John - On a Yellow Box (ATW)..................................................................154
Payne, Kenneth – Heart Shadow (ATW)...................................................................154
Pitynski, Andrzej – The Partisans II - Freedom Fighters (ATW)..............................154
Pitynski, Andrzej – Sarmatian: Spirit of Freedom (ATW).........................................155
Shore, Philip - Armored (ATW).................................................................................155
Stolz, Fisher – Sphere of Influence (ATW)................................................................155
Tobin, Steve* – Rebirth (ATW)..................................................................................155
Van Tongeren, Herk – Teatro XVII (ATW) ................................................................156
White, Bruce – Crustacean (ATW)............................................................................156
Seward Johnson Center for the Arts (SJCA)................157

Evans, Phill - Fans (SJCA)........................................................................................157
Febland, Harriet - Moon Song (SJCA).....................................................................157
Johnson Jr., Seward J. - Time for Fun (SJCA)..........................................................157
Johnson Jr., Seward J. - Confrontential Vulnerability (SJCA)..................................157
Martini, John - Dream a Little Dream (SJCA)..........................................................157
Moore, Jesse - Sigh (The Morning you Left) (SJCA)................................................157
Neri, Manual - Untitled Marble III (SJCA)..............................................................157
Padovano, Anthony - Circle #1 (SJCA).....................................................................158
Alphabetical Index..................................................... 159
14
15
...there are so many works to discover that the best way to view them is probably to
wander, which allows for that element of surprise. “It’s very important to us that
people really do have the opportunity to approach it on their own terms. In fact, there
are so many works to discover that the best way to view them is probably to wander,
which allows for that element of surprise.” - Green-Rifkin1
http://www.copper.org/consumers/arts/2009/august/homepage.html
1 http://www.copper.org/consumers/arts/2009/august/homepage.html
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Introduction
Introduction
The goal of Docent Notes is to describe the sculptures at Grounds for Sculpture (GFS), RATS,
“Along the Way” and the Hamilton Train Station. The descriptions focus on aesthetic
considerations as opposed to details of the sculpture's life. Current Exhibitions are not covered.
Some sculptures in the private areas of Rats and the Johnson Center for the Arts are not listed.
This draft of Docent Notes is in two parts. This document, Docent Notes, Part 1, describes the
sculptures and contains a section on asthetics. Docent Notes, Part 2 contains material such as a
list Johnson's Works at GFS that can be used as a crib sheet or handout. In Part 2 there are also
sections with poetry and quotations that can be used as part of a tour, copies of the original
paintings Johnson copied, descriptions of art movements, etc. As this work progresses, there will
be more complete descriptions of all the mythical illusions such as the story of Rapunzel, and
more complete discussions of art movements and the aesthetic considerations that can be brought
into a discussion of the sculptures at GFS.
The material in Docent Notes is derived from GFS and other WEB sites and docent observations.
The Index alphabetizes both the sculptors and the titles of their work. By looking at the Index
under a sculptor's name, you can see a list of all sculptor's works at GFS.
References and footnotes are at the end of each section or at the bottom of the page.
GFS is intentionally not divided into fixed sections with rigid boundaries. 2 However to make
Docent Notes more useful for docents, the sculptures are divided into six sections:
● Damascus Gate
● War Memorial/Promise/Doubles/Dana
● Brilliance/Moby Dick/Water Garden/Courtyards
● Pegasus/Warming Hut/Monkey King
● Harmony/Equator/Dorian/Tabletop I
● Part of Nature/Rats
The section names refer to prominent sculptures or features in an area of GFS. The Brief Table of
Contents identifies these areas of the park. This is simply a way of organizing the sculptures. The
sections of the park are the invention of the author. They are designed to group physically close
sculptures. The Detailed Table of Contents lists the artist and their work in alphabetical order in
each section of the park.. The Index lists each sculpture and sculptor in alphabetical order.
See Grounds for Sculpture at http://www.groundsforsculpture.org and International Sculpture
Center at http://www.sculpture.org for more information and images of the sculptures. A list of art
movements with interesting links is at http://the-artists.org/movement/Sculpture.html.
2 Andre Malraux, purchased one of Bruce Beasley's early works. In his classic book Voices, he complained about
overstuffed modern Western museums and contrasted them with much sparser, more meditative Asian museums. This
complaint cannot be lodged against the hundreds of sculptures at GFS because each sculpture is placed in its own
unique setting of plantings and architectural elements.
17
Damascus GateDamascus Gate
Damascus Gate
Abakanowicz, Magdalena* - Space of Stone, 22 Elements
Space of Stone by was created specifically for the Grounds For Sculpture. The two varieties of granite
composing the work were chosen by the artist particularly because of the strong surface texture she
was able to achieve and the contrast between their light and dark tonalities. The twenty-two elements
were obtained from blocks of granite that were cleaved in a way to make the resultant forms appear as
if they were found that way naturally.
Abakanowicz’s intention was to place the blocks in such a way as to set up an environment that, in
the artist’s words, “We must enter, penetrate, become part of.” Children running around the stones
capture this spirit. By becoming an active element of the sculpture, the viewer is asked to contemplate
nature’s creativity versus man’s, compare the scale of one’s self to the scale of the surroundings, and
experience the increasing compression and tension of space staged by the artist as one walks toward
the center and the relief of their release upon exiting. It is an imposing sculpture that is one of
Abakanowicz’s major installations.
Sculpture Magazine featured Abakanowicz in December 2000 and in October 2005 with a long article
featuring with many pictures that are worthwhile to show to patrons. The International Sculpture
Center gave her their Lifetime Achievement Award in 2005.
See http://www.abakanowicz.art.pl/
Aeschlimann, Heinz - Composer I

Elegant yet playful, Composer I, by Swiss sculptor Heinz Aeschlimann is comprised of three similar
but separate stainless steel elements that combine to form a strong and harmonious single unit. This
visual unity is furthered as one views the sculpture in the round and discovers that the elements work
together to suggest a sense of movement and growth. Aeschlimann developes this harmony between
the elements by first working with small scale models - the slight differences in the positioning of
each element influences the composition of the whole work. Aeschlimann himself describes the
complex symbiotic relationship between the three steel elements:
"…I closely communicate with the environment, observing the perpetual confrontation and tension
between resistance and harmony, nature, technology and humanity. The sculpture Composer I
represents a team of three. The Composer, standing vertically represents the basic element, directing
the two secondary elements to coexist in harmony. The concave and convex shapes present a playful
but coordinated elegance. These partially overlapping surfaces, constructed in various layers, appear
to be living organisms in various states of growth or decay, [and show the] interplay of light, color,
and shadow.1
Composer I and many other works by Aeschlimann are representative of his ability to balance and
move from artistic creativity to engineering prowess to business savvy. He began his career as a civil
engineer in Switzerland wherein he gained valuable experience in paving construction as well as road
and bridge technology. This early venture helped discipline him in the methodical work of
production, and instilled within him the importance of working in stages. Aeschlimann was also able
to experiment with various industrial materials and techniques, manipulating different media for
creative purposes, with a remarkable solidity of both design and product to his work. His discipline
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and focus have led him to create and build a gallery and garden called Modern Art Advising in
Zolfingen, Switzerland. See http://www.maa.li for more information.
1. Heinz Aeschlimann, 16 Aug. 2006.
Barret, Bill - Efflorescence

1995, welded bronze. In Efflorescence Barrett explores form in space with a fluidity that belies
the cold and rigid properties of metal. His sculptures can 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. In this sense, Barret's style is like Witkin's.
Contributing to this harmony are the synergies formed by implied and arrested movement and by
the interplay of positive and negative space. His personal philosophy is as concerned with the
harmony and balance of seemingly disparate qualities as are his artworks.
Barrett has stated, "I feel that the artist's responsibility is to project his own happiness and good
will but not at the expense of the rawness, the incompleteness, the questioning that must be at the
core of every true artist's work. This kind of self-disclosure - the very nakedness of which is
universally discomfiting to many - is part of what's fun about art."
Barret is in Were You Invited. See http://www.billbarrettsculpture.com/.
Barton, James - Constellation

2001, cast aluminum, 169" x 138" x 102". In Constellation three undulating stems waver
upwards, ending in spherical masses and then continue on, becoming arching curves along which
other spheres appear to travel in cosmic rotation. Barton has said, “Constellation is a reference to
objects moving in space.” The sense of movement in the sculpture is dynamic and imparts the
understanding that these forms, according to Barton, “are traveling and not at their final place of
rest.” Another aspect of interest to the artist is the effect that the sun itself will have on the
sculpture as it casts shadows onto the earth, offering a two-dimensional version of this celestial
composition.
Benshalom, Itzik - Big Vered

1996, bronze, 1/9, 68" x 49" x 20" See http://www.itzikbenshalom.com.
Bullock, Benbow - Albebo

2003, stainless steel; 396" x 24" x 24" (13 feet high) Bullock works in a variety of metals and
prefers the simple elegance of hard-edge geometric constructivism. The tall, slender Albedo is
one in a series of “endless columns” that is dedicated to the revered, Rumanian-born sculptor,
Constantin Brancusi. (Brancusi’s own 98-foot-high, metal Endless Column in Târgu-Jui,
conceived as a memorial to young Rumanians who died in World War I, was completely restored
and reassembled in 2000.) One of Brancusi's first "endless columns" was made of wood and can
be seen at MOMA. The concept for the series evolved gradually over the course of ten years from
Bullock’s desire to create sculptures that combine the triangular shape of the pyramid, the vertical
of the obelisk, and the towering grace and light-seeking qualities of sunflowers.
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Albedo’s stainless steel surface is burnished to make it “sing in the sun,” an ideal of the artist which is
further alluded to in the title, a scientific term referring to the amount of light reflected off a surface.
As the sun shines on the Earth, some of the energy is absorbed and some is reflected back to space.
Albedo is the fraction of solar energy (short wave radiation) reflected from the Earth back into space.
When you look at the earth from outer space, you see that the clouds are mostly white but the ocean is
a dark blue. The clouds have a higher albedo than the surface of the ocean.
Bullock: “Sculptures have a life of their own, casting shadows that change in shape and length daily,
and with the changing seasons. Sculptures are abstract sundials.”
Another Bullock sculpture, Homage to Brancusi, is almost identical to Albedo. It is at the entrance to
the Chianti Sculpture Park in Tuscany near Siena, Italy.
See http://www.artnut.com
See http://www.sculpture.org/portfolio/sculptorPage.php?sculptor_id=1000066#description
Benbow says that sculpture fascinates him. A person can walk around a sculpture and experience it
from any direction. In contrast, music, theater and writing are serial in mode. They have a beginning
and end. Sculptures have a life of their own, casting shadows of different shapes and sizes, changing
hourly, day to day and with the seasons. Sculptures are abstract kinetic sundials.
With geometric constructivist sculpture, viewers quickly relate to the basic geometries of spheres,
pyramids, cylinders, cones and polygonal structures. It is this simplicity that makes constructivist
sculpture so potent in its visual and sensual impact.
Endless columns, obelisks, megalithic stone alignments and circles of Britain, Brittany and the
Mediterranean have intrigued Benbow for many years. Recent reflections and impressions have led
him to create a series of ‘Endless Column’ sculptures in highly burnished stainless steel or silicon
bronze. They range in height from twelve to over fifty feet. The tallest sculpture “Ode to the Snark”,
50 feet high burnished stainless steel, in the permanent collection of the Oakland Museum of
California. The story of his endless columns unfolds on his web site:
http://www.artnut.com/tournesol.html
One of his most recent sculptures, “Borrego Springs”, is an eight foot high open lattice endless
column. The open stainless steel armature pyramids have triangular sides with dichroic glass panels.
Dichroic glass optics allows the transmission of one color while reflecting another color, depending
on the angle at which light strikes it. The sculpture is interactive with the viewer.
Photoes of “Aurora Aurora”, second in the stainless steel and dichroic glass series of sculptures can
be seen the above sites.
AURORA AURORA
Good morning, Aurora
Dawn, light comes streaming in.
Over the hills, across the bay
to the other shore.
Aurora, Aurora stands alone,
a peacock in full display.
Transparent metallic oxide colors
Please the naked eye.
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Regal gold, azure cobalt blue

ferric reds aflame, borders of cupric green
changing slowly; Helios moves
across the sky.
Now, titanium white and yellows,
And bismuth greens. The spectra-
Infrared to ultraviolet
Dawn to dusk...
Thin-film coatings,
thin as gossamers,
resting on butterfly wings
Refract waves of sunlight
to burst in dazzling glory,
unseen, constant change.
Cairns, Christopher - Lydia Mary

Lydia-Mary is in part based on a character in the 1930 novel Narcissus and Goldmund by the
German author Herman Hesse. In this novel the influence of Friedrich Nietzsche's theory of the
Apollonian versus Dionysian spirit is evident. The polarization of Narcissus's individualist
Apollonian character stands in contrast to the passionate and zealous disposition of Goldmund.
Hesse, in the spirit of Nietzsche's The Birth of Tragedy, completes the equation by creating
Goldmund as an artist (an Apollonian endeavour), and highlighting the harmonizing relationship
of the main characters.
Goldmund is presented as completely rounded character as he comes to embody both Apollonian
as well as Dionysian elements, thus capturing Nietzsche's conception of the ideal tragedy.
Goldmund comes to embody the entire spectrum of the human experience, lusting for the
gruesome ecstasy of the Dionysian world yet capturing and representing it through artistic
Apollonian creativity.
Like most of Hesse's works, the main themes of this book seem to be the struggle between man
and nature, as well as the union of polar opposites. Goldmund represents art and nature and the
“feminine mind”, while Narcissus represents science and logic and God and the “masculine
mind”. These "feminine" and "masculine" qualities are drawn from the Jungian archetypal
structure, and is quite reminiscent of some of his earlier works, especially Demian. Throughout
the novel, Goldmund increasingly becomes aware of memories of his own mother, which
ultimately results in his desire to return to the Urmutter (primordial mother).
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,
asphyxiating maternal figure. Sculpted in clay and plaster, and later cast in bronze, Lydia-Mary
was completed in 1983. During the 1980’s Cairns created several large bronze sculptures of the
female figure. These works are rendered in flat planes with an interplay of convex and concave
forms. Examples include Lilith, Black Madonna (also at GFS), Angel with Nails, Misericordia,
and Synagogue. Like Lydia-Mary, these sculptures possess a deep significance, one that goes
beyond the aesthetic beauty of the piece.
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Cairns: “The quest for some personal religious framework permeates the themes and attitudes of my
sculpture. Present also are recurring psychological determinants. The sculptures draw on a thematic
pool that has fed many artists from the past: love, death, metamorphosis, redemption, violence, and so
on.”
See http://www.christophercairns.com.
Donnan, William - Pinched

1998, reinforced cement. Pinched 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 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.
Dusenbery, Walter* - Damascus Gate

The title refers to a gate in the wall around old Jerusalem that faces Damascus. The Damascus Gate
(also known as Shechem Gate, Nablus Gate, or Bab-al-Amud (Gate of Columns)) is an important gate
in the Old City of Jerusalem. It was built in 1542 by the Ottoman ruler Suleiman the Magnificent. The
gate has two towers each equipped with machicolations. It is located at the start of the Arab bazaar
and marketplace. In contrast to the Jaffa Gate, where the stairs rise towards the gate, in the Damascus
Gate, the stairs descend towards the gate.
Suleiman I (November 6, 1494 – September 5/6, 1566), was the tenth and longest ‐serving Sultan of
the Ottoman Empire, reigning from 1520 to 1566. He is known in the West as Suleiman the
Magnificent and in the Islamic world, as the Lawgiver, deriving from his complete reconstruction of
the Ottoman legal system. Within the empire, Suleiman was known as a fair ruler and an opponent of
corruption. As well as being a capable goldsmith and distinguished poet, Suleiman was also a great
patron of artists and philosophers, overseeing the golden age of the Ottoman Empire's cultural
development.
Under his leadership, the Ottoman Empire became among the worlds' foremost powers. Suleiman
personally led Ottoman armies to conquer Belgrade, Rhodes, and most of Hungary, laid the Siege of
Vienna, and annexed most of the Middle East and huge territories in North Africa as far west as
Algeria. For a short period, Ottomans achieved naval dominance in the Mediterranean Sea, Red Sea,
and Persian Gulf. The Ottoman Empire continued to expand for a century after his death.
Dusenbery was Director/Supervisor of the Stone Division at the Johnson Atelier Technical Institute of
Sculpture. He is one of the founders of the Digital Stone Project.
See http://www.walterdusenbery.com/.
Ferris, Herb - Heart of Gold

2006, white pine, gold leaf, steel, H. 204 x W. 72 x D. 36 inches
Herb Ferris’s large sculptures are minimal in style, yet have elements that are somehow reminiscent
of simplified landscape features. This evocation of nature, combined with the natural media, makes
Ferris’s work particularly suitable for placement in gardens, both public and private. The simplicity of
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form is belied by the power Ferris has empowered it with to affect the course of the viewer’s
emotions. Elegant and thought provoking, the pieces rise dramatically from the earth,.the length
of the lines producing a graceful silhouette against the sky.
Flemming, Linda - Ex-halations

One of the sculptural steel elements of Ex-halations is obviously a bed frame 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 separate 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.
See http://lindaflemingsculpture.com.
Fűkő, Béla - Internal Evolution

2005, basalt, 83" x 30" x 12". Appropriately sited in an environment that encourages tranquility
and contemplation, Fűkő’s sculpture inspires introspection. Influenced in part by the psychology
of Carl G. Jung, Fűkő is interested in the search for spiritual meaning and the collective
unconscious. Fűkő 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.
Fűkő describes his work as a sculptor:
… To conceive and create something from within and through myself is an ecstatic feeling for
me. … The whys of the search and the discovery of more whys is a mission crammed with
excitement…I call my sculptures: touchable objects for meditation. I would like to … call
peoples’ attention to the hidden secrets of the Collective Unconscious… The ongoing observation
and speculation about existence will keep my sculptures alive. The observation of the spiritually
charged, touchable, energy-filled objects for musing will be a personal affair. Hopefully through
this individual searching, you will appreciate the experiences that are encoded in the sculpture
and a joy that is fleeting will live again.
Gund, Gordon - Flukes

2004, cast bronze, 1/7, 72" x 72" x 45."Beautiful and graceful in its form, Flukes is inspired by an
encounter Gund had with pilot whales on Nantucket Island a few summers ago. A group of
whales had come ashore, and the artist, along with scientists attempting to redirect the pod, had
an opportunity to feel the tail of one of the whales. For Gund this was a meaningful opportunity
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because as a young adult he was diagnosed with retinitis pigmentosa which eventually left him blind.
The ability to examine up close such a magnificent mammal allowed Gund to interpret and translate
into bronze what he “saw” with his hands. Flukes effectively captures “the power and massiveness of
the tail of a whale” as well as the “power of the musculature, and the torque of the speed which can
emerge from these multi-ton animals as they swim, dive and surface in the waters off Nantucket.”
Gyampo, Michael - Matters of the Moment

2008, bronze, 8' x 8'6" x 5'6" Matters of the Moment continues Mike Gyampo’s interest in traditional
philosophical and aesthetic matters and gives vision to the combination of African and American
influences in his work. Regardless of medium, Gyampo’s sculptures convey a solidity and
permanence that grounds them to the earth. The primitive and forceful forms command attention yet
they communicate a humanistic sensibility and spirituality. The purity and simplicity of Gyampo’s
concepts provide a flow and interaction, resulting in an innovative iconography and vision.
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MATTERS OF THE MOMENT - Article by Curt Conrad in Expressions, Winter 2008
Step out of the Visitor’s Center, turn right and walk to the end of the building. In front of you will be
Mike Gyampo’s new addition to the GFS collection, Matters of the Moment. This bronze sculpture
(96” x 102” x 66”) is an enlargement of a miniature wood carving.
Mr. Gyampo says his intention was to make the piece look as if it were carved from one large piece of
wood. It was also his intention to give this human image internal movement (“explosive inward
reflection of our socioeconomic, political, visual, and religious encounters”).
Mr.Gyampo is a resident of Trenton and maintains a studio in the Motor Exhibit Building at GFS. He
has participate in recent Artists in Action events here at GFS, giving wood carving demonstrations in
the front of the Motor Exhibit Building.
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Hamburger, Sydney - Huerfano

1993, aluminum, H. 168 x W. 264 D. 120 inches
Hamburger’s sculptures reflect her deep interest in anthropology and what she perceives to be
contemporary mankind’s sense of unease. The works often have severe, angular elements at their base
while at the top, softer more circular shapes crown the pieces, almost as if the lower portions
represent the harsh reality and uncertainty of life while the upper sections create a refuge, a safe,
warmer place where hope can prevail.
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Huerfano Butte By Curtis Von Fange, from http://www.desertusa.com/mag05/mar/hike.html
“Huerfano,” the Spanish word for “orphan,” is an appropriate name for the 300-foot high, conical-
shaped butte that stands like a lone sentinel in the arid scrubland some eight miles north of
Walsenburg, Colorado. Visible for miles from any direction, it served early explorers as a landmark,
signaling the route to life-giving rivers that flowed from the nearby Rocky Mountains.
Huerfano Butte is so striking that the noted land surveyor, General John Fremont, suggested that his
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stepfather, a wealthy railroad baron, construct his railroad track in the shadow of the premonitory
so that passengers could enjoy its uniqueness. It also attracted profiteers who built a fort and then
a small settlement nearby. They felt certain that the butte would draw a profitable stream of
customers to their businesses.
But I, with some 20 students from Colorado College, saw the butte not just as a curiosity, but as a
geologic mystery, a field study organized by one of the professors who required that his class
produce a geologic explanation for Huerfano.
After an hour’s drive south from Colorado Springs, we could see Huerfano Butte on the horizon.
In contrast to the surrounding gently rolling hills of sagebrush, sparse grass and yucca, Huerfano
rose like an…orphaned!…hill, constructed mostly of rocky, black basalt, piled like a massive
truck load of boulders dumped onto a flat driveway. It was obviously out of place, an incongruity.
Ironically, although Fremont’s stepfather chose not to build a railroad track past Huerfano Butte,
modern engineers did build Interstate 25 no more than a few hundred yards away. From the exit,
we followed a narrow dirt road that winds through the yucca along the base of the butte. We
stopped, and the professor walked a quarter of a mile north to the landowner’s home to secure
permission for us climb Huerfano Butte and explore it geologically. With permission in hand, he
returned and gave instructions to his class. With notebooks, rock hammers and bottles of water,
they began the trek.
The students began to look like ants as they ascended. After I parked our bus, I decided that I
would join in the climb.
The first realization of what I had undertaken came in the form of thirst and hard breathing
punctuated by cactus spines piercing my thin pants leg. I quickly learned the importance of water,
pacing and body placement.
About a third of the way up, the professor called his students around him like a mother hen
gathering her chicks. He asked them about some rock types. Ah, a clue as to Huerfano’s origins.
These were not the large, black basaltic-type boulders found higher up, but a fine-grained
material that looked somewhat like shale, a sedimentary rock found in ocean beds. Indeed, as I
later found out, this was a rock layer called Pierre Shale. But, because of intense heat, it had been
altered, or metamorphosed, into a different material—argillite, a metamorphic rock. A deposit of
this particular rock extended about 90 yards radially from the butte. We now had the first hint
about Huerfano’s origin.
We continued our climb, negotiating the loose rocks and dirt on all fours. Two thirds of the way
up, we reached large blocks of basalt slashed with freeze cracks. Although they were unstable in
places, the massiveness of the boulders allowed safe passage to the top. As we approached the
summit, I could see why Huerfano had been such an important landmark to early settlers. The day
was clear and sunny. I could see a thick cloudbank hanging over the “Springs,” some 80 miles to
the north. Straight west stood the front range of the Rocky Mountains. They looked closer than
their 20-mile distance. South and east went on forever. I felt certain that I could see the Kansas
border in the distance to the east. One thing for sure, the Greyhound bus below us looked mighty
small.
After hearing an hour lecture on the origins of Huerfano Butte, I, as a layman, can only recall a
few reasons for its existence. Apparently, the entire area had, millions of years ago, been
underwater. That explains the sedimentary Pierre Slate. A massive uplift then raised the land. As
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the huge Spanish Peaks, 40 miles to the west, pushed upwards they forced igneous intrusions
outward, into the surrounding sedimentary layers. Huerfano Butte became isolated intrusion off by
itself, a “volcano that never was,” that is, an igneous intrusion that never erupted through the surface.
It never produced the rock ejecta and lava flow that would characterize a true volcano. Subsequently,
erosion stripped away the overburden, revealing Huerfano Butte, a volcanic plug. The argillite, a
metamorphic rock, exemplifies the intense underground heat that altered, or metamorphosed, the
sedimentary slate. As a result of the geologic forces, Huerfano now exists as an orphan, all alone on
the arid lands, 40 miles from Spanish Peaks.
The hike back down the butte proved to be slippery and slow. I tiptoed through the cactus patches.
Eventually, I made it back to the bus. After the students climbed aboard, we headed back to the
interstate for our cruise back north. As we passed the conical butte I still wondered about this isolated
volcanic plug, remote, lonely. It really did seem like an orphan in stone.
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Held, Marion - Three Figures

The sensuous surface quality of materials is essential to the sculptor Marion Held. Held pairs
mediums in unique combinations to intensify their individuality. An example of this is "Three
Figures," composed of clay faces and torsos hung within a large wooden frame. The metallic surface
of high fired clay contrasts with the aged and weathered appearance of wood, bringing to mind an
ancient structure or ritual. "Three Figures" is intended to evoke an emotional response in the viewer
based on associations which engage the mind when one encounters the work.
Held's current explorations add cast rubber to her vocabulary of materials. The natural color of the
rubber and its translucent quality provide an unusual counterpoint to the opaque characteristics of
other mediums. Held works to make a sense of beauty, poetry, and sometimes whimsy integral to each
piece.
Houser, Allan - Resting at the Spring

1986, bronze, H. 94 x W. 45 x D. 24 inches
Allan Houser’s artistic beginnings as a painter soon went beyond the parameters of that two
dimensional medium. He continued to evolve as an artist; his natural abilities allowed him to
transform the exquisite draftsmanship of the sketches into sophisticated and elegant three dimensional
works of art. His sculptures exhibit a distinct volume and there is a charisma about their presence .
While he never eliminated the subject matter of his Indian heritage, he became enthralled with the
theme of mother and child and portrayed these classic images as both naturalistic in form and
simplified abstractions.
Johnson, Seward - Confrontational Vulnerability

After Olympia, by Edouard Manet, 1863-65, oil on canvas, 130.5 x 190 cm (51 3/8 x 74 3/4 in),
Musee d'Orsay, Paris, France. Giraudon/Art Resource, NY.
The sculpture is no longer on view. A small painting hang in the entrance to rats that alludes to
Olympia. The model for Olympia is the same as the one for Le Déjeuner sur l'herbe
With a single shocking canvas depicting a prostitute in repose, Edouard Manet entered the brave nude
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world of nudity in modern art (Courbet was braver and earlier). When Edouard Manet's painting
Olympia was hung in the Salon of Paris in 1865, it is met with jeers, laughter, criticism, and
disdain. It was attacked by the public, the critics, the newspapers. Guards had to be stationed next
to it to protect it, until it is moved to a spot high above a doorway, out of reach.
Victorianism wasn't strictly for the British, and no serious artist dared to paint a woman of such
obvious ill repute without at least draping her in the exotic garb of harem girl. Yet here was a
courtesan glorified in an homage to Titian's "Venus of Urbino" that was so obvious spectators
called it parody. But it wasn't - Manet didn't merely expose the prostitute to the eyes of the world,
he had the audacity to worship her. It was blasphemy. How unfortunate for Manet's detractors that
it was also exquisite.
It starts with the woman herself, and the fascinating face of Victorine Meurent. Meurent was
Manet's longtime model, muse and companion, the subject of numerous canvases. Over the
course of more than a decade, Manet invented her again and again as a boyish bullfighter, a street
musician, a gracious lady in pink robes. In 1863, the same year he wed his wife Suzanne, Manet
did two nudes of Victorine. The first, Le Déjeuner sur l'herbe, he exhibited at the Salon des
refusés after being rejected by the official Salon.
But the sight of Meurent's naked presence at an otherwise buttoned-up picnic party proved too
alternative even for the alternative crowd, and the work was thumped as "bizarre" and "risqué."
Perhaps chilled by the reaction to "Le Déjeuner," Manet waited two years to show the other nude.
But Olympia, to whom not even an innocent skinny-dipping motivation might be ascribed, caused
an even greater furor. In no other canvas did the collaboration between Manet and Meurent
unleash such fervent response, and in none were they as hauntingly dazzling.
What upset everybody so much? It may be that she seems so unaffected herself. She stares
placidly at the viewer, putting us in the uneasy role of client to an alluring, if bored-looking,
whore. Manet inhabited a world in which it was generally assumed that a woman existed to
nurture, comfort, inspire or arouse, all in relation to her place in society and family. But Olympia,
for all her blatant accessibility, is tantalizingly self-sufficient. There's nothing supplicating or
humble about her. To the wealthy collectors of art and women, who regarded both as possessions,
Olympia stripped them of their illusions. Her body is ripe for the taking, but everything else,
including the meaning behind that enigmatic almost-smile, she's keeping for herself.
For all the great paintings in the history of art, few show a woman whose gaze is so startlingly
direct and defiantly unaccommodating. Mona Lisa shyly glances to her left. So does Vermeer's
"Girl with a Pearl Earring." Botticelli's Venus looks out dreamily into the middle distance, lost in
her own thoughts, while Sargent's Madame X turns her head away completely. And scores of
Virgin Marys glance rapturously up at the angels or tenderly down at their babes.
When a woman does face front in a painting, it's likely to be a portrait of a queen, not a canvas of
a concubine. Olympia meets us eye to eye. It's an ingenious and unsettling device, a bit of artist's
revenge. The image in the frame is the one doing the sizing up, and it is we who are left feeling
appraised -- and potentially rejected. The critics, unaccustomed to having the tables so turned on
them, were quick to serve up rejections of their own. They hated the subject matter. They hated
the flat, primitive style. They hated everything about it.
"What's this yellow-bellied Odalisque, this vile model picked up who knows where, and who
represents Olympia?" demanded one writer. "Inconceivable vulgarity," declared another, while
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yet another proclaimed that "art sunk so low does not even deserve reproach."
Manet was devastated. "The insults rain down on me like hail," he complained to his friend, the poet
Baudelaire. Yet while many looked upon Olympia as a symbol of depravity or a slattern, others
recognized her as a triumph. The writer Émile Zola called it Manet's "masterpiece," declaring, "It will
endure as the characteristic expression of his talent, as the highest mark of his power. When other
artists correct nature by painting Venus they lie. Manet asked himself why he should lie. Why not tell
the truth?" But the truth came at a cost.
Though he continued to paint and exhibit for the rest of his life, Manet remained a frequent target of
public disdain, forever misunderstood and tainted by the scandals of his youth. He hadn't sought to
offend; he simply painted the best way he knew how, in bold strokes and unexpected contrasts. And
he wasn't alone -- his innovative techniques and unconventionally ordinary choices of subject matter
eventually ignited a new generation of artists. Though he refused to label himself as such, his
successors hailed him as the father of impressionism. He was among the vanguard to glorify not the
figures of myth, but the radiance of absinthe drinkers, suicides and prostitutes.
In the artist's lifetime Olympia never received her due, but she aged remarkably well. Years after
Manet's death, Claude Monet offered the work to the French government, and it's been a Parisian
museum fixture ever since. Manet would have been pleased. He knew that to appreciate her, we just
needed to look a little longer. "Time itself imperceptibly works on paintings," he said, "and softens
the original harshness." The shock she provides now is one not of outrage but of awe.
One need only bask in the heady loveliness of Olympia, the shadows between her fingers, the curve
of her belly, the contrasts of light and dark, to understand the depth of Manet's talent. But when we
look deeper -- at the complexities and contradictions and beauty and brutality of his work -- his true
genius emerges. Art to Manet wasn't a story about gods or saints or kings. It was about real life, as
ordinary as commerce, as easy as sex.
Here Manet rebels against the art establishment of the time. Taking Titian's Venus of Urbino as his
model, Manet creates a work he thinks will grant him a place in the pantheon of great artists. But
instead of following the accepted practice in French art, which dictates that paintings of the figure are
to be modeled on historical, mythical, or biblical themes, Manet chooses to paint a woman of his time
-- not a feminine ideal, but a real woman, and a courtesan at that. And he paints her in his own
manner: in place of the smooth shading of the great masters, his forms are painted quickly, in rough
brush strokes clearly visible on the surface of the canvas. Instead of the carefully constructed
perspective that leads the eye deep into the space of the painting, Manet offers a picture frame
flattened into two planes. The foreground is the glowing white body of Olympia on the bed; the
background is darkness.
In this painting, Manet showed a different aspect of realism from that envisaged by Courbet and his
his intention being to translate an Old Master theme the reclining nudes of Giorgione and Titian, into
contemporary terms. It is possible also to find a strong reminiscence of the classicism of Ingres in the
beautiful precision with which the figure is drawn, though if he taught to placate public and critical
opinion by these references to tradition, the storm of anger the work provoked at the Salon of 1865
was sufficient disillusionment. There is a subtlety of modelling in the figure and a delicacy of
distinction between the light flesh tones and the white draperies of the couch that his assailants were
incapable of seeing. The sharpness of contrast also between model and foreground items and dark
background, which added a modern vivacity to the Venetian-type subject, was regarded with obtuse
suspicion as an intended parody. The new life of paint and method of treatment in this and the other
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works by Manet that aroused the fury of his contemporaries had a stimulus to give to the young
artists who were eventually to be known as Impressionists. In a more general sense, they rallied
to his support as one heroically opposed to ignorant prejudice and their own ideas took shape in
the heat of the controversy.
In painting reality as he sees it, Manet challenges the accepted function of art in France, which is
to glorify history and the French state, and creates what some consider the first modern painting.
His model, Victorine Meurent, is depicted as a courtesan, a woman whose body is a commodity.
While middle-and- upper class gentlemen of the time may frequent courtesans and prostitutes,
they do not want to be confronted with one in a painting gallery. A real woman, flaws and all,
with an independent spirit, stares out from the canvas, confronting the viewer, something French
society in 1865 is perhaps not ready to face.
After Manet's death, the painter Claude Monet organizes a fund to purchase Olympia and offers it
to the French state. It now hangs in the Musée D'Orsay in Paris, where it is considered a priceless
masterpiece of 19th French painting.
Johnson, Seward - The Hunting Party

2004 cast bronze H. 72 x W.164 x D.204
Based on Claude Monet's 1886 Femmes au jardin [Women in the Garden]
From http://www.musee-orsay.fr/en/collections/works-in-focus/painting/commentaire_id/women-
in-the-garden-3042.html?tx_commentaire_pi1%5BpidLi
%5D=509&tx_commentaire_pi1%5Bfrom%5D=841&cHash=9e241b861e:
In 1866, Claude Monet started painting a large picture in the garden of the property he was
renting in the Paris suburbs. He faced a twofold challenge: firstly, working in the open-air, which
meant lowering the canvas into a trench by means of a pulley so he could work on the upper part
without changing his viewpoint; and secondly, working on a large format usually used for
historical compositions. But his real aim was elsewhere: finding how to fit figures into a
landscape and give the impression that the air and light moved around them.
Monet found a solution by painting the shadows, coloured light, patches of sunshine filtering
through the foliage, and pale reflections glowing in the gloom.
Emile Zola wrote in his report on the Salon: "The sun fell straight on to dazzling white skirts; the
warm shadow of a tree cut out a large grey piece from the paths and the sunlit dresses. The
strangest effect imaginable. One needs to be singularly in love with his time to dare to do such a
thing, fabrics sliced in half by the shadow and the sun".
The faces are left vague and cannot be considered portraits. Camille, the artist's companion, posed
for the three figures on the left. Monet has skilfully rendered the white of the dresses, anchoring
them firmly in the structure of the composition – a symphony of greens and browns – provided by
the central tree and the path.
Finished in the studio, the painting was refused by the jury of the 1867 Salon which, apart from
the lack of subject and narrative, deplored the visible brushstrokes which it regarded as a sign of
carelessness and incompleteness. One of the members of the jury declared: "Too many young
people think of nothing but continuing in this abominable direction. It is high time to protect them
and save art!"
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Kalish, Howard - Urchin

Nature and its principles of growth are key aspects of Howard Kalish’s work. Rather than copying a
single object in nature, Kalish looks to forms of growth and structure in the natural world. This
observation of the natural world encourages him to pursue sculptural forms that evolve slowly and
organically. As the artist himself has stated, “Just as in nature, by far the most important factor is the
overriding growth principle (the DNA, if you will). This is how the work is conceived, in every sense
of the word. An idea or seed is born and I try to let it realize itself in the form of a three-dimensional
object by nurturing and not violating its essence. In the best circumstances the thing that is created
has an existence of its own, independent of me.”
Urchin illustrates the serendipitous nature of Kalish’s artwork, evolving from a series of smaller
sculptures based upon the idea of the spiral as a form of growth. The study for Urchin was
approximately 6” 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.
Katzen, Lila - Pinkney

Corten steel 61" x 55" x 30" Pinkney, Lila Katzen's sculpture of cut, rolled and welded steel
resembles a curled ribbon, solid and substantial in physicality yet delicate and sensuous in form.
Perhaps this derived from her initial artistic career as a painter, influenced by the surface, color and
decorative aspects of such earlier masters as Miro and Matisse while the elements of line, movement
and structure reflect her beginnings as a sculptor during the Abstract Expressionist era. Katzen
worked on a human scale, inviting viewer interaction and accessibility. Though there is no reference
to visual reality, her mode of expression became one of simplification and exclusion of detail. She
worked meditatively and intuitively, bending and folding, transforming one component into another
until the rhythmic form that was her signature style emerged. Pinkne is composed of two two steel
strips. One might imagine the outer strip holding and sheltering the inner strip, much like a parent
does with their child. In this way it resembles Wertheim's The Family.
Katzen said of her pieces in all media: "I feel marvelous when my works find a home. They are like
my children. They are my links to the past. They are what I am."
Mangold, Robert - PTTSAAES 8/01

2001 painted steel, 330" x 84" x 120" PTTSAAES 8/01 is installed inside the new entrance near a
building that will eventually be incorporated into the sculpture park, allowing for further expansion of
Grounds For Sculpture’s programs and visitor services. Made from industrial steel piping painted a
brilliant red, the seventeen-foot-tall abstract work is easily spotted by visitors. The unusual title of
Mangold’s piece is actually an acronym, the letters standing for a “Point Traveling Through Space At
An Erratic Speed.” Unlike the wind-activated works in Mangold’s Anemotive Series, those belonging
to the PTTSAAES Series are stationary and movement is instead implied. The viewer’s eye moves
along the slick lines of varying lengths and directions, but through the suggestion of speed the
observer can mentally add an energy force to “animate” the work. With adjustments in perception, the
point then travels through space via “virtual kinesis,” rising up from the ground and zooming back
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into it.
Mangold is recognized for his kinetic constructivist approach to sculpture. He is sometimes
linked with the kinetic sculptor George Rickey, who taught at Indiana University in the early
1950s, when Mangold was an undergraduate there.
Morante , G. Frederick - Nude Descending the Stare Case

2007, mixed media, stainless steel, cold cast brass, 91" x 25" x 18" Scaling (or rather descending)
the brick wall of the Seward Johnson Center for the Arts is G. 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.
Originally a smaller version of this sculpture was in the Water Garden (1993, Cast bronze, 44" x
16" x 6").
Joan Schornstaedt: "I met with Fred. He does not put women on a pedestal in part because of his
upbringing. His mother was a radio sports announcer and his father either a baker or a tailor (I
forget). So he was not raised with traditional mother/father male/female role models. This has led
him to not idealize women but treat them as equals. (paraphrased)"
Otterness, Tom - Z-DNA

2007, cast bronze, AP 1/2, 210" x 88" x 51". Tom Otterness has created an interpretation of the Z-
DNA, one of the many possible double helical structures of DNA (deoxyribonucleic acid), for the
front entrance of Grounds For Sculpture. It is a left-handed double helical form of DNA that
winds to the left instead of the right, like the more common B-DNA. Z-DNA is thought to be one
of the three biologically active double helical structures along with A- and B-DNA.
Widely known for his whimsical and subversive sculptures, Otterness’ works have a unique style
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and voice. Upon first sight, the viewer experiences an immediate attraction and is drawn in by the
somehow familiar, cartoon-like forms. With closer inspection, a deeper message is revealed as the
characters act out scenes that refer to various social and political commentaries. Otterness’ sculptures
use a language of simplified, easy-going, yet well-crafted form to which people relate and find
intriguing. Through them, often overlooked discourses of the human condition are opened up to be
discussed and pondered. Otterness’ outdoor public art commissions are numerous and include the
popular The Real World at the Nelson A. Rockefeller Park in Battery Park City, New York; Life
Underground, which consists of over 100 sculptures that are installed in the New York City subway
station at 14th Street and Eighth Avenue.
Reginato, Peter* - Area 51

1999, stainless steel, mild steel, plexiglass, Insltron paint, light bulb; 123” x 152” x 133”. Area 51 by
Peter Reginato is one of the artist’s favorite recent works. He sites the environmental quality, the
individual, widely varied forms, and the way in which the shapes work together as reasons for this
affinity. Viewers may be drawn to the sculpture for its exuberant and whimsical qualities. The use of
color, linear aspects, and placement of objects in space give the sculpture a strong but somewhat
transient dynamic. Incorporating elements made out of plexiglass is a new development in the artist’s
work. In this regard, he states, “With plexiglass one has the image and one can see through it. I like
the way it creates illusions of space, particularly when you cut holes in it.” Another interesting aspect
of Area 51is the use of a downward-pointed electric light, adding to the drama of the sculpture.
The title refers to a secret facility about 90 miles north of Las Vegas that has been used by the military
for testing “technologies and systems” and stealth aircraft. The facility and surrounding areas have
entered the popular culture lexicon through an incident in 1989, when a claim was made that the
government was working with an alien spacecraft in the area. Since then, the term “Area 51” has
become a somewhat humorous symbol for the alleged UFO cover-up and conspiracy, and the subject
of a variety of movies, Web sites, and other musings.
"The "common wisdom" in the art world today suggests that in order to make an important statement
an artist must take as much out as possible thereby creating something that is empty. I want to do the
opposite. I want to make art as full as possible. The only thing I took out of my work was realism. I
saw greater possibilities in abstraction. I believe that a new art will contain all the traditional
elements--line, form, color, composition, drawing.
I want to leave behind work that is for every generation, no matter what the existing trends are, or the
perceived opinion of good and bad. I would like to think that my work will be enjoyed, talked about
and maybe even seen as vital to those times; I would like to think it will mean something to whoever
is looking at it." March 1, 1994, New York
See http://www.abstract-art.com/reginato/index.html http://www.abstract-
art.com/reginato/4PRImprov.html. and http://www.abstract-art.com/reginato/home.shtml.
Rogers, Andrew - Flora Exemplar

Removed. 2005, cast bronze, 176" x 96" x 43" Flora Exemplar is one of Andrew Rogers’ signature
works and is “much more than mere imitation of a natural feature, for its sheer expressiveness evokes
in us emotions of human striving and introspection.”1 It is the artist’s second abstract sculpture in his
Rhythms of Life series that he began in 1995. Primarily focused on a successful business career,
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Rogers made his first sculpture in 1988 when in his early forties. A long time admirer of Rodin,
Rogers’ first works were figurative, depicting both male and female nudes. In 1995, he switched
gears and moved towards abstraction as a means of communication. As Ken Scarlett notes, “Like
a cicada that has spent part of its life underground, then crawled out of confining tunnel to come
forth into daylight, Rogers put his figurative style behind him and accepted abstraction…Rogers
emerged confident and assured, articulate with a new vocabulary of forms.”2
For the most part, Rogers’ abstract works are preceded by quick charcoal sketches. Flora
Exemplar is a supple, and gracefully winding organic form that strongly suggestive of a plant. A
smaller version of this sculpture has been on exhibit at Grounds For Sculpture in the Water
Garden since 1998. Recently, Rogers cast a larger version of Flora Exemplar in his native
Australia. The work now stands 14 feet 8 inches high and creates a much stronger presence in the
Water Garden.
The leaves of Flora Exemplar can be contrasted with Wright's Untitled. Both sculptures abstract
botanical shapes.
__________________________
1. Edmund Capon. “Andrew Rogers: Flora Exemplar” in Rhythms of Life: The Art of Andrew
Rogers, by Ken Scarlett (Melbourne: Macmillan Art Publishing, 2003), 49.
2. Ken Scarlett, in Rhythms of Life: The Art of Andrew Rogers, by Ken Scarlett, Melbourne: Macmillan
Art Publishing, 2003, p. 35.
Rosati, James - Shorepoints I

1966-68, fabricated aluminum, painted, 78" x 255" x 192" Angular and brilliant white in color,
Shorepoints I belongs in part to the Minimalist art movement wherein right angle forms and
simple, geometric abstraction defined sculpture of the 1960’s. Yet there is more than meets the
eye as one examines Rosati’s work carefully. Shorepoints I consists of several irregular volumes
each comprised of six straight-edged planes, eight corners, and twelve linear intersections where
the planes meet. Examining the work in-the-round provides the viewer not only with surprisingly
varied perspectives, but with a greater appreciation for the effects of light on the sculpture. As
Rosati remarked on this issue in an interview recorded by William C. Seitz in 1969:
…I never could let go of the idea that a mass of form was a big chunk…a monolith. I found that
if you set it up, perfectly horizontal and vertical—all sides—the light hits it the same, and it’s
equal. But if you take the same form and cut it down until it is slightly diagonal, you’ll find that
the light will hit it more strongly at one end and will diminish toward the other. This is a natural
physical phenomenon, not chiaroscuro. … It not only gives the masses power, it takes away that
solid weight about them.1
Undeniably the volumes appear to be weightless—their sheer mass elevated and delicately
balanced. Rosati’s work is purely abstract and begs the question, “What does it mean?” In an
essay, Albert Elsen responds:
…a sculptor like Rosati works from wordless experience that makes it difficult or impossible for
him to translate the visual and intuitive nature of his sculpture’s source into the language of
verbal discourse. … If his work inspires various interpretations and, so long as other intentions
are not ascribed to him, the sculptor is content: his art has touched the imagination and life of
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strangers.2
1. William C. Seitz, “Rosati: Masses in Elevation,” Art News, December 1969, 41.
2. Albert Elsen, James Rosati: Recent Monumental Sculpture, (New York: Marlborough Gallery, 1
May – 6 July 1984)
Siegel, Steven - Grass, Paper, Glass

2006, Three 96" cubes constructed on location. Grass is removed but Paper and Glass remain.
Taradash, Meryl - The Caged Bird Dances II

My sculpture is designed to move with the wind and change with the light. The
unpredictability of natural forces is essential to my work as a sculptor. I want people
to see these elements in my work.
As an artist, I am interested in creating public art because I believe it affects people
in subtle and unexpected ways, and I also believe that movement invites
participation.
Each of my completed sculptures assumes a life of its own, totally dependent upon
the will of the wind and the light of the sun. — Meryl Taradash
2001, aluminum stainless steel, 152" x 40" x 33". Meryl Taradash’s kinetic sculpture, The Caged Bird
Dances II, makes wind visible. Composed of aluminum and stainless steel, Taradash’s sculpture
incorporates a third and a fourth medium—wind and light. Intricately engineered and gracefully
balanced within two curvaceous lines, the kinetic motion radiates from within the central core of the
sculpture. The innermost spiral responds to the wind, accelerating and decelerating its rotation as it
catches and reflects the light. Like many of Taradash’s works, The Caged Bird Dances II celebrates
human gesture and thought. One is invited to experience this kinetic work, marvel at its motion, and
perhaps make up story as to why “the caged bird dances.”
See http://www.meryltaradash.com.
Tobin, Steve - Roots

Removed. 2005, cast bronze, 120" x 180" x 180" The Roots series explores another aspect of what
Tobin calls his Earth Bronzes. The sculpture on view at Grounds For Sculpture belongs to the same
series as Afterlife, which was cast from the stump and root system of the 300 year old sycamore tree
that stood across the street from the World Trade Center in the historic churchyard of Trinity/St.
Paul’s Chapel. The tree was felled upon the impact of the falling towers and saved the church and old
tombstones from damage. In these sculptures, Tobin extracts as much of an entire root structure of a
dead tree as possible and casts it in bronze. That which was hidden under the ground is now presented
before us in all its intricate glory.
We don't usually get to see ghosts, but when Tobin excavated the earth to get at the entire root
structure of a dead oak tree on his property, his objective was to make the unseen realm of roots
visible. One Root piece measures 25 feet high and 45 feet in diameter. It is not an exact replica of the
underground root network, because as painstakingly as the roots were removed, some were damaged
in the process. The natural structure, from the trunk down to the most delicate tendrils, was cast in
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bronze and then reassembled like the reconstruction of a dinosaur skeleton, where some pieces
are inevitably missing. It has, for Tobin, become a monumental obstacle to the expansion of his
studio space.
Tobin, Steve - Termite Hills

Removed. 2001, 3 pieces of cast bronze 144" x 96" x 72", 120" x 96" x 96", 137" x 72” x 72"
Steve Tobin’s sculptures range in media and content, but what connects them is the sense of
wonder that the work evokes. Tobin’s sculptures are often a result of an interaction with nature,
presenting a unique view of objects or processes that could easily be overlooked, but which hold
the power to drive and shape our world. The Termite Hill sculptures, three of which are now on
view in the sculpture park, induce awe in their monumentality. The fact that insects make these
architectural formations by mixing their own excrement with saliva adds a level of amazement
that something so repellent could become so inspiring in form. The casts of the hills were made
on-site, working with the local people in a village in Ghana, Africa to create molds that were
transported to the United States where the bronze could be poured and patinated.
In the Termite Hills bronzes, Tobin sought to stress that the "insect is something more than a thing
that we step on." From the perspective of a termite these monuments are larger than the pyramids.
By converting the earthen structures to bronze, Tobin made them transportable and monumental.
And when they begin to appear on the streets of Manhattan in the next 6-12 months as part of a
public art project they should evoke a fresh sense of wonder, particularly given their juxtaposition
with one of the best known skylines in the world and their multicultural connotation (Tobin
galvanized an entire village in Ghana, Africa in order to bring the project into fruition). Or as art
critic John Perreault wrote: "The sculptures he presents are alien. They are not statues. There is
also not a hint of cubism or minimalism. They shock." Tobin plans to amplify the shock when he
returns to Ghana to build kilns around, and then fire, the abandoned termite hills: "the direct earth
as art, with my transformation by fire." - http://www.warmus.org/Steve_Tobin_by_warmus.htm
Trapp, Wayne - Geometry of the Cosmos

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.1
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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.”2 See: http://www.waynetrapp.com.
1. Wayne Trapp, The Journey of a Sculptor (Valle Crucis, NC: Dancingfish Press, 2002), 73. 2.
Trapp, 66.
Van de Bovenkamp, Hans - Cock-a-doodle-doo

bronze, 106" x 34" x 72" Cock-a-doodle-doo was part of the exhibition Menhirs, Dreams, Myths, and
Deities and was gifted to the sculpture park by the artist. Pretending for a moment that the title of this
bronze work is unknown, the visitor can almost immediately recognize the reference—the comb-like
design is characteristic of a rooster. Simply enough, the reference is to Van de Bovenkamp’s pet
rooster. Cock-a-doodle-doo is part of Van de Bovenkamp’s Menhirs series. Begun in 2001, the
Menhirs are life-size and larger, soft and inviting works reminiscent of prehistoric architectural
structures, that convey a sense of sacredness and spirituality. The word “menhir” refers to a single
upright monumental stone usually of prehistoric origin. Perhaps the most well-known example of an
ancient group of menhirs is Stonehenge. Van de Bovenkamp’s Menhirs possess their own internal
energy—each sculpture is composed of several elements or parts that relate to one another through
tension and balance. Organic and sensuously curved, the works are in a sense alive and evoke a sense
of mysticism and eroticism. See http://www.vandebovenkamp.com.
Van de Bovenkamp, Hans - Sagg Portal

2004, stainless steel, 132" x 180" x 72" Joining the sculpture park’s outdoor exhibition, Sagg Portal
was previously on exhibit indoors in the Museum Building for Hans Van de Bovenkamp’s one-person
show: Menhirs, Dreams, Myths and Deities. 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.”
Sagg Portal is part of Van de Bovenkamp’s Menhirs series. Started in 2001, the Menhirs are life-size
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and larger, soft and inviting works reminiscent of prehistoric architectural structures, that convey
a sense of sacredness and spirituality. The word “menhir” refers to a single upright monumental
stone usually of prehistoric origin. Perhaps the most well-known example of an ancient group of
menhirs is Stonehenge. Van de Bovenkamp’s Menhirs possess their own internal energy—each
sculpture is composed of several elements or parts that relate to one another through tension and
balance. Organic and sensuously curved, the works are in a sense alive and evoke a sense of
mysticism and eroticism. See http://www.vandebovenkamp.com).
Vladescu, Stefan - Love

The main quest for most human beings is a quest for Love. From Cervantes to Shakespeare there
is a need to express this esoteric notion in different ways. [The] search [for love] is physical,
platonic, or divine. Love is an idea which is difficult to quantify. The [work] I created is based on
[an] abstract notion of Love.1
The appeal of bronze lies in its paradoxical nature as a durable material, cold to the touch…made
to look soft and sensual. My pieces are usually highly polished, allowing the observer to see their
reflection and in a sense ‘participate’ in the piece.2
The inspiration for Stefan Vladescu’s sculpture Love, as revealed by the title, is the most basic yet
arguably the most complex human emotion—love. Love, like many of Vladescu’s works, is based
on a significant event or experience in the artist’s life. Cast in bronze at nearly seven feet long and
five feet wide, Love is Vladescu’s largest work of art to date. The sculpture’s long dual shape
evokes a number of images—perhaps a wishbone or a pair of legs. Vladescu believes, that each of
the images suggested by the work can be unified under one theme—the theme of love. Moreover,
the sculpture’s sleek and smooth surface carries that theme. See
http://www.conceptualsculpture.com.
1. Stefan Vladescu, “Artist’s Statement,” personal email (14 July 2006).
2. Stefan Vladescu. http://www.sculpture.org/portfolio/sculptorPage.php?sculptor_id=1000104 (8
Aug. 2006).
Voulkos, Peter - Bucci and Missoula (two works)

Peter Voulkos has often been dubbed the father of the American Clay Revolution, otherwise
known as the Craft-to-Art movement. In 1954, Voulkos’s hefty clay sculptures smashed the
boundaries and constraints of utilitarian ceramics with three categories of work: “ice buckets,”
“plates,” and “stacks.”
While teaching at the Otis Art Institute (then the Los Angeles County Art Institute), Voulkos’s
clay constructions began to embody the gestural spontaneity and visual momentum of Abstract
Expressionism along with the Zen-like acceptance of imperfections that characterizes the
Japanese tradition of pottery. Working with a personal structural vocabulary limited to thrown
shapes including cylinders, bowls, spheres, plates, clay slabs, and whatever forms his hand or
mallet could tear, press, or paddle, he fabricated a unique visceral and sculptural syntax with
infinite compositional variations. To quote the artist, “I get down to the very basic forms that I
really love, but they are still giving me information.”
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
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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.
Wareham, William - Annoweeka

Welded and painted steel 1998. This is a geometric construction consisting of a circular figure and
segments of a sphere. It is part of Wareham's quartered sphere series. Since he was the first Artist in
Residence at the Norcal Solid Waste Systems facility in 1990, where he set up the studio and wrote
the safety manual, Wareham has been using recycled steel as the primary source for his sculpture, but
he goes far beyond what most artists do with recycled materials. It is the "pre-used history that the
material inherently holds", he says, that inspires him. "These worn-out metal things will continue to
have a life by gathering, refocusing and rejoining into a collective other life". Wareham has full
control of the new compositions, but they also appear to have an uncanny life of their own, a power
as new objects that hold the key to the life of the old: it seems that the scrap metal was always meant
to be an element of the new sculpture in the hands of the artist.
“On my studio wall is a small sign (the lettering disappearing from age) that says: "Do not be afraid!"
Perhaps intended as a morale booster to those WWII sailors going off to war from this shipyard: it
now acts as an aesthetic reminder to pursue the creative act with vigour. But what is that? Is it to take
three-dimensional form to where it has not been before or mine the turf that others have excavated in
the belief of finding new harmonies? Whichever path, to activate space with steel is a challenge. I try
to resolve this with both knowledge and intuition asking myself constantly; "Is this solution too
predictable?" I rework and change the forms to get a more dynamic relationship, interesting intervals,
tension in the negative volumes or contrasting scale; all with the purpose of bringing a great sense of
visual delight to our lives."
Wareham’s brightly painted Annoweeka is truly a geometrical abstract sculpture that explores the
relationship between a two-dimensional shape, the circle, and a three-dimensional form, the segments
of a sphere. The composition of Wareham’s work is governed by the laws of mathematics rather than
narrative content or emotional expression. Wareham states, “I rework and change forms to get a more
dynamic relationship, interesting intervals, tension in the negative volumes or contrasting scale; all
with the purpose of bringing a great sense of visual delight to our lives.”
See http://www.modernsculpture.com/wareham.htm.
Wibroe, Susanne - Eye on the Ball*

Removed. Suzanne Wibroe-Fost is the Director of "Lookout Sculpture Paris," in France and “Lookout
Sculpture Park,” Damascus, Pennsylvania, U.S.A. (Susannewibroe@minitel.net )
Lookout Sculpture Park is open year round for guided walking tours by appointment. Call Jot
Stephens and Juli Kinzinger Tel: (570) 224 6586 or Milton Groesbeck Tel: 914 887 6510.
Sculptures at Lookout Sculpture Park, including Lotus Flower by Ms. Wilbroe, can be seen at
http://www.sculpture.org/documents/parksdir/p&g/lookout/lookout.shtml. A photo of eye on the Ball
is at http://lookoutpark.free.fr/online/page_f1.htm. In addition to Ms. Wilbroe, Linda Fleming, Peter
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Damascus Gate
Reginato, Peter Voulkos, and William Wareham have sculptures at GFS and Lookout Sculpture
Park.
Building and firing an anagama kiln is much more difficult than using commercially-available
gas or electric kilns, so it takes real vision and commitment to do anagama firing. Proponents
love the unpredictable and often very beautiful effects of fire and wood ash upon their works.
Since the 1970s an increasing number of American and European artists have been drawn to
anagama firing.
The building of the anagama kiln at Lookout Sculpture Park was directed by Susanne Wibroe-
Fost, and her husband Laurent, with the assistance of Ryusei Arita, a ceramic artist and master
kiln builder. A student and protégé of Peter Voulkos, Wibroe-Fost hoped to continue Voulkos’
legacy of openness, creativity and experimental energy at Lookout Sculpture Park. In pursuit of
this vision, she purchased extensive acreage in northern Pennsylvania more than 20 years ago. In
short order she built an enormous studio for herself and equipped it for making large-scale steel
sculpture. She also carved out a warren of sleeping quarters to house visiting artists, and began to
renovate the main house as her home. Organized as a not-for-profit institution, Lookout Sculpture
Park has for many years offered summer residencies to sculptors, whose works in wood, metal
and found and organic materials soon began to populate the rolling meadows and the banks of the
shimmering pond. An impressive international roster of sculptors has participated in the summer
residencies and Lookout has also offered programs to local schools and camps.
Eye on the Ball is a collection of steel shapes. A large convex shape is easily imagined to
represent an eye and, perhaps, the abstract shapes attached to it could represent the attachments to
the brain. The ball seems to be coming out of a tube, canon, or torpedo.
Witkin, Isaac* - Eolith

The Blue Mountain granite stone masses in Eolith seem at once like primordial “lumps” -
essential, dense volumes from which all organic life springs. 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 critic1
The above passage by Karen Wilkin eloquently expresses the essence of Isaac Witkin’s 1994
sculpture Eolith2. Eolith soars 14 feet, weighs approximately 20,000 pounds and is made of Blue
Mountain granite. 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. It was commissioned by the collector Philip Berman who encouraged Witkin to work in
stone.
Although both Eolith and Garden State are made of stone, the works are evocative of Witkin’s
sculptural language more commonly expressed through his bronze works. That language is
generated from Witkin’s improvised explorations of experimental foundry techniques in which
molten bronze is directly poured onto a bed of sand. As the artist states, “Rather than beginning
with a drawing, my ideas are always conceived three-dimensionally. My language is generated
from the free flow of metal drawn in molten states onto beds of sand.” Examples of such bronze
works include The Bathers (1991), Hawthorne Tree II (1990), and Linden Tree (1983)—all of
which are exhibited outdoors at Grounds For Sculpture. See the Index under Witkin, Issac for a
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complete list of his works that are at GFS.

At the age of 21 the sculptor moved to London where he attended St. Martin’s School of Art. It is
during this time, the late 1950’s and early 1960’s, that St. Martin’s established a reputation for being
the most exciting place in Britain to study sculpture. In large part this was due to the stellar faculty
that Witkin encountered - one of his teachers being sculptor Sir Anthony Caro. After working with
Caro he went to work for Henry Moore as an assistant. He and his colleagues became identified as the
"New Generation" in British art. Many of their works were eccentric brightly colored that owed a
great deal to their mentors Anthony Caro and Henry Moore. Isaac Witkin by Karen Witkin is beautiful
monograph explores the career of one of the most original sculptors now working in the modernist
tradition. Witkin first exhibited in Whitechapel Gallery in London in 1964.
The vivid palette of his early work evolved to a new sculptural vocabulary of organic forms made
from direct bronze pours. He combined pieces of hardened molten metal into biomorphic structures,
as seen in many of the Witkin sculptures at GFS. The organic forms Isaac's mature work were
influenced by Moore.
See: http://www.isaacwitkin.com
1. Wilkin, Karen Isaac Witkin, Hudson Hills Press, New York, 1998, p. 86.
2. An eolith (from Greek "eos", dawn, and "lithos", stone) is a chipped flint nodule. Eoliths were once
thought to have been artifacts, the earliest stone tools, but are now believed to be naturally produced
by geological processes such as glaciation.
The first eoliths were collected in Kent by Benjamin Harrison, an amateur naturalist and
archaeologist, in 1885 (though the name "eolith" wasn't coined until 1892, by J. Allen Browne).
Harrison's discoveries were published by Sir Joseph Prestwich in 1891, and eoliths were generally
accepted to have been crudely made tools, dating from the Pliocene.
Because eoliths were so crude, concern began to be raised that they were indistinguishable from the
natural processes or erosion. M. Boule, a French archaeologist, published an argument against the
artifactual status of eoliths in 1905 [1], and S. Hazzledine Warren provided confirmation of Boule's
view after carrying out experiments on flints [2].
Although the debate continued for about three decades, more and more evidence was discovered that
suggested a purely natural origin for eoliths. This, together with the discovery of genuine late-
Pliocene tools in Africa (the Olduwan tools), made support for the artifact theory difficult to sustain.
References
1. Boule, M. (1905) - L'origine des éolithes, L'Anthropologie, t. XVI, pp. 257-267.
2. Warren, S.H. (1905) - On the origin of "Eolithic" flints by naturals causes, especially by the
foundering of drifts, Journal of the Royal Antrhopological Institute of Great Britain and
Ireland, t. 35, pp. 337-364.
3. Terry Harrison, Eoliths, in Encyclopedia of Anthropology ed. H. James Birx (2006, SAGE
Publications; ISBN 0-7619-3029-9)
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Celebrating Isaac Witkin at Rider University By Linda Pickering, From Expressions, Summer 2008,
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Damascus Gate
Vol. 1, Issue 3
Rainy weather predictions were overcome by weak sunshine and strong smiles on Monday, April
21 for the installation of the Isaac Witkin Sculpture Park at Rider University in Lawrenceville.
A late morning bright red ribbon cutting at Witkin’s painted steel creation, “Chesterwood,” was
followed by a full afternoon of events honoring and remembering the renowned sculptor.
Professor of Arts Harry Naar, the Director of the RU Art Gallery and curator of the art collection,
opened the program. Naar first brought Witkin’s works to the University in 2005 with what was
the last one man exhibition of his life, Out of the Crucible: Images Born of Fire & Water.
The dedication marked the culmination of efforts by Rider and Nadine Witkin, Isaac’s daughter,
to display Witkin works on the campuses of Rider. Five of his pieces from 1968 to 1980 now may
be seen at the Lawrenceville campus, with another, Taurus, at the Westminster campus in
Princeton.
Nadine Witkin glowed as she expressed gratitude to the faculty and administrators who worked to
execute the project. Ms. Witkin then presented a surprise gift to the Rider Art Gallery – the
maquette of The Wallenberg Gate. Karen Wilkin, the noted critic and curator and author of the
1998 monograph ISAAC WITKIN, took the audience on what she characterized as a “superficial”
tour of the variations in Witkin’s works over his long career. Commenting on Eolith, Ms. Wilkin
noted how he had made stone weightless. Isaac Witkin: In His Own Words, a Nadine Witkin film
production composed of clips from home movies, amateur videos, TV productions, and more
from Witkin’s youth into the 21st century revealed the ardent artist, his excitement and
exploration of materials, forms, processes, and sites obvious and endearing. Cranes, winches,
torches, sanding tools hammer and chisel – all were shown as part of the artist’s arsenal. “I don’t
know what art’s all about,” Witkin says in the film. “I’m trying to discover it and this [my work]
is the result of all my gropings.”
Art of the Secret Paradise, a specially commissioned dance performance by Rider University
dance students, conceived and choreographed by artist Ana Lorena Sanchez Castillo, included
live and video performances about and around the Witkin works – and the blossoming magnolias
- on the campus. As the audience filed out of the theater for a reception, they were treated to the
first-ever preview of the uncast model of “Isaac Witkin,” a sculptural portrait and tribute by Gyuri
Hollosy. Especially for all those there who knew Isaac, it was good to see this larger-than-life
depiction. A trip to the Rider Lawrenceville campus, just minutes from Grounds For Sculpture, is
a “must” for admirers of Witkin’s art. Beautifully sited, the works from the 1960s and 1970s
show an earlier Witkin; the Rider works are all of steel, dating from before his “Bronze Age.”
Thus, they enrich understandingof the evolution of the artist and his work.
For more on how the Witkin Sculpture Park at Rider came to be, including a list of the works on
view there, see: http://www.rider.edu/news/newswire/spring2007/Rider_080107/story_one.htm
Wright, Autin Dean - Carmaleta

2009, fiberglass and LED light, 10' x 5" x 12". In Carmelita, the simplicity of forms is based on
complex concepts and even more complex and elaborate execution. This ambiguity between
vision and construction results in Carmelita’s energetic optical presence that is heightened by the
LED light within the fiberglass sculpture. In its watery environment, the serpentine qualities of
the work animate its primitive iconography and it rises from the lake much as Poseidon rose from
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the sea or the Loch Ness monster.

Joan Schornstaedt: "Carmelita is his mother’s name and the piece resembles the loch ness monster or
some sea serpent. So my tours and I have been trying to figure that out. So I asked DJ. He tells me
that one day Autin was standing near where the piece is, on a windy day, and saw the grasses nearby
curving and bending in the wind. That’s what the piece is, grass. He was asked to name it and he
decided to name it after his mother for no reason related to the piece."
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Carmelita - Article by Charlotte Grodzki in Expressions, Winter 2008
Autin Wright’s newest sculpture, Carmelita, was recently installed in the pond near the Visitor’s
Center. Made of fiberglass with a clear polyurethane seal on acrylic, Carmelita is lit internally with
three strands of LED lights, two cool and one warm.
Commissioned by the Sculpture Foundation, Carmelita has been in the works for over ten years. “The
idea grew and developed over time, and then about four years ago it began to come forth. Now it has
finally materialized. My work is always about giving birth.”
Carmelita takes her clues from the environment. Autin has always been inspired by his native
Jamaica: “the serenity of the water, the lush green vegetation, the islands emerging from the waters
and the mountains in the background. “I am drawn to organic shapes. It has to do with the circle, the
continuity, the community, the village and birth. Caribbean people are close to the womb. My shapes
are always expanding, pushing outwards and reflecting growth. I took advantage of the water and the
environment. The movement comes from the sides, the grass, entering and exiting.
“The spiritual quality of my work is often overlooked. What you see is what you don’t see. The work
of an artist is to try to make something visible. When God created us He did so in His image. If we
are in His image we have no choice but to be creative. It’s the spiritual that binds us together. As I
reflect on my work as an artist, it is hard not to feel the Divine. Children love Carmelita, because they
can see beyond.”
Four of Autin’s other sculptures can be found at Grounds For Sculpture: The Sleep (1996), Free Form
III (1998), Kordell (1998), and Regina (2003).
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War Memorial/Promise/Doubles/Dana
Beck-Friedman, Tova - Excerpts of a Lost Forest: Homage to Ashera
Through her sculpture, "Excerpts of a Lost Forest: Homage to Ashera," Beck-Friedman displays
her close ties with her Hebrew heritage and with nature. By entitling her piece "Excerpts of a Lost
Forest: Homage to Ashera," the artist pays tribute to those who suffered through the atrocities of
the Holocaust. Although the five tubular pieces are placed apart, they are closely related and
interact with one another. Theirs is an anguished attempt to communicate. Creating her pieces so
that they resemble trees connects them to their environment and natural setting in the garden.
Beck-Friedman gives gender to her piece with elongated crevices carefully sculpted into each of
the five elements. These erotic slits seemingly connote female figures. Rather than suggesting the
womb or birth, the deep hollows seem to intimate decay and death. Her work stands with great
presence as a monument to unspeakable suffering.
Ashera, the Hebrew/Caananite Goddess, blessed the fields and flocks until deposed by a jealous
priesthood. Central to the Semitic notion of deity is El, the old fatherly creator god and his
consort, Athirat or Asherah. "Both were primordial beings, they had been there always." El,
whose name simply meant 'god' was the creator and procreator, overseer of conception, who sired
the gods, thus being also called 'Bull El' in continuity with the ancient bull god of fertility.
Asherah and El thus form a creation hieros-gamos of male and female, representing the bull and
the earth goddess we see emerging from the ancient continuum at Catal Huyuk. El is supposed to
have gone out to sea and asked two Goddesses, one presumably being Athirat and the other
possibly Anath to choose between being his spouses and being his daughters. They chose the
former. Their offspring are Shaher and Shalem, the morning and evening stars, from which
Lucifer, the light-bearer, takes his name.
Brill, Curt - Dana

My search in the visual arts is for the hidden Human spirit. That small part that makes us each
unique, yet finds us a common home. … In my pieces I first search for that bit of movement, then
I search for the humor to help carry me through the piece, and in completion I search for serenity.
My fortune lies in the knowledge that my audience has been like my work, ongoing. - Curt Brill
2003 cast brozen, 2/5, 42" x 48" x 42" 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 convoys 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.”
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. For more information on Brill’s step-by-step sculptural process, see
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War Memorial/Promise/Doubles/DanaWar Memorial/Promise/Doubles/Dana
http://www.curtbrill.com.
Cunnigham, Linda - War Memorial III

1987. This work immediately brings to mid the destruction caused by war. Cunningham often
combines stone with her metal sculpture. The War Memorial, approximately 12’ high, 14’ long, and
10’ deep, comprises four abstractions of human figures or perhaps the remnants of buildings exposes
the absolute physical and moral devastation of war.
Beyond what it literally depicts though, this monument is an abstract image of damaged identities; it
represents not so much the visible devastation, but rather the collapse of individual systems of belief
as a consequence of war.
Linda Cunningham based her work on Rodin’s monument The Burghers of Calais (bronze, 1886-88),
which was supposed to “honor the heroes who offered to sacrifice their lives to save the city from
destruction in the fourteenth century” (Champigneulle, Bernard, Rodin 75). Rodin’s burghers are
heroic figures, and his monument inspires a feeling of patriotism and promotes self-sacrifice in the
name of the public as a virtue. Linda Cunningham reinterprets the issue of self-sacrifice in a way that
reveals it not as heroic and virtuous, but as pointless. So while the War Memorial recalls Rodin’s
Burghers visually, it advances a completely different message, and in this way it could be seen as
criticism of its own prototype. The difference in ideology between Linda Cunningham and Rodin is
expressed in their use of materials for their sculptures. Rodin worked with bronze, a noble metal
classically used for the depiction of grand-historical subjects. Linda Cunningham created her work
from rusty iron sheets that appear to be corroding. Drawing attention to the unattractiveness of the
material, she promotes a hideous, shocking image of war. It looks as if the sculpture is actually built
from junk materials, which once again points out the moral obscenity of war. The larger-than-life-
sized figures are roughly handled; the iron sheets are twisted in amorphous shapes with jagged
contours, and occasional ruptures appear in the bodies. All these formal elements suggest physical as
well as moral degradation. (Taken in part from Elissaveta Vassileva, An Obscene Abstraction of War),
edisk.fandm.edu/wri/modelessays2001.pdf)
Davis, David - Sound of 4th of July

Removed.
Dinnerstein, James - Canon

"Canon," with its ribbon intricacies and inner passages, bears a corporeal resemblance to an earlobe.
Common to Dinerstein's works of art, suggestions of bodily features provoke lyrical images among
his audience. "Canon" has been described as the culmination of a musical instrument, a musical
composition, and its musician. Compare with The Listener by Rats.
Estridge, Larry - The Psalmist

The Psalmist epitomizes the recent oeuvre of sculptor Larry Estridge. The powder-coated welded
steel is intense and dramatic; the sculpture's curves and angles exemplify the fundamental shapes with
which the artist works to get to the essence of natural forms. Geometric abstraction seems to be
Estridge's mode of expression, combining these elements in pieces of steel in curvilinear and angular
forms. While the sculpture may appear non-representational, it is the reduction of visual imagery that
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allows Estridge to explore spatial concepts, giving vision to his personal sensibilities. The
application of color only heightens the impact of these monumental works, which results in
pieces that are totemic in their simplicity while conveying a sense of serenity and peace.
The artist says of The Psalmist that it "is an outgrowth of, and departure from, a recent group of
large scale abstract sculptures that explore expressive possibilities of bent and curved steel and
aluminum plate... The Psalmist, a more abstract work, draws on my experience as a musician, in
which player and played are one thing, bound in silence the moment before song."
Higashida, Zero - Sinjin

2005, stainless steel, 69" x 75" x 51" Sinjin is a quiet, complex work of art. Aesthetically, the
work simultaneously possesses both heavily textured and smooth stainless steel surfaces with
visible seams between them. Zero Higashida, works in combinations of stone, steel and wood, to
convey the monumentality of his subjects which often are the horrors associated with war like
Hiroshima and the atomic bomb. His simple forms, both rough and gestural, suggest the massive
and the infinitesimal at the same time. They reflect at once the beauty, elegance and harmony of
balance and suspension of the atom and its relation to the universe while at the same time convey
the horror of its potential in human hands. His materials, stones and pieces of wood indigenous to
Hiroshima, are often bound and constricted with welded steel bands; his surfaces ache with
ragged edges, and suture-like wounds slice the planes. Favoring a state of precarious equilibrium,
he tends to balance his forms on beveled edges and sharp points. Although haunted by the spector
of the atomic bomb, Higashida's art also embodies the Japanese notion of chiritori: the planet's
power to heal and restore itself. Indeed, the seams, rough as they are, are part of this healing.
Sinjin is part of Higashida’s Messaiah series—the word “Messaiah” as coined by Higashida is
comprised of the words “message” and “messiah”. Spiritual and religious in nature, the works
express the artist’s hope for world peace. Higashida states, “There is nothing more important than
world peace. I strongly believe that expressing world peace is the only role that art can truly
have.”1 Additionally, the artist notes, “I think that art can heal and has been healing history.
People are able to link heaven and the real world by training their imagination. I would say that
an artist is someone who conveys a spiritual message to the real world.”2
Higashida’s view on the world and humankind in large part stems from his childhood and
memories of his mother. A survivor of the nuclear bombing of Hiroshima, Higashida’s mother
shared her experiences with her son, and it is her memories that have taught him the value of life.
Jonathan Goodman has aptly described Higashida’s works: “Higashida’s abstraction removes him
from the claim that human activities such as enduring suffering and promoting peace are meant to
be expressed in fully human, that is to say figurative, terms. … [His work] involves the
presentation of suffering as an abstract entity intended to revisit vulnerability and grief in wholly
innocent terms.”3
1. Goodman, 48 – 49. 2. Jonathan Goodman, “The Weight of Memory,” Sculpture, April 2005, 51
3. Goodman, 49.
Johnson, J. Seward - Dejeuner Déjà Vu

1994 J. Seward Johnson, Jr. recreates Edouard Manet's (French, 1832-83) painting, "Déjeuner Sur
l'Herbe," in his sculpture "Déjeuner Déjà Vu" with precise accuracy. It is difficult to distinguish
45
between what is real and what is art. Johnson s three-dimensional play on a two-dimensional artwork
brings Manet's painting one step closer to real life. Hidden from direct view, it is a piece which must
be found, discovered. Passersby stumble upon it only to gasp in shock and then laugh once they have
realized their mistake. Johnson explains: "I use my art to convince you of something that isn't real.
You laugh at yourself because you were taken in, and in that change of your perception, you become
vulnerable to the piece and intimate with it in a certain way." 1
1. Quoted in Marta McCare, "Strike a Pose," Modern Maturity, Sept - Oct, 1995.
Johnson, J. Seward - Lakeside Table #1
Katzen, Lila - Aqua Libra

"Aqua Libra,"made of textured stainless steel with bronze weldments, is a commanding abstract work
by the late Lila Katzen. The forceful piece is charged with power created from the upright
asymmetrical sections that stand 8 feet tall.
It marks a break from the artist's earlier flowing and sinuous looping ribbons of steel and follows a
new direction set forth in the early 1990s. Though not immediately apparent, the abstract works from
this period are interpretations of contemporary cultural issues as seen by the artist. The aggressive
compositions, jagged-edged fragments, and exposed seams allude to society's jarring fragmentation.
Her works are included in public collections at the Baltimore Museum of Art, the Birmingham
Museum of Art, the Chrysler Museum in Virginia, the Georgia Museum of Art, the National Gallery
of Art, the National Museum of American Art and other major museums.
Krikorian, Berj - Sparten

1993, Vermont marble, 82” x 72” x 54” The incessant tool marks that riddle the surface of the work is
physical evidence of the obsessive effort expended in the creation of this voluptuous, burgeoning
volume.
Lyles, Kevin - Passage

1998, steel, stone, 132” x 36” x 72” - 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. See: http://www.kevinlyles.com
Martini, John - The Couple

1999, steel, 92" x 67" x 12" - John Martini is known for figurative works, an example being The
Couple. They are often composed from sheets of scrap metal, the artist choosing to leave the rusting
or paint-covered surfaces as found. Working with a torch, he cuts out silhouette forms of people or
animals from foraged materials, then utilizes this tool to "draw" linear details. His simplified but
compelling works brings to mind Haitian folk art as well as ancient Etruscan pieces. Martini
successfully melds an unpretentious, almost naive approach with innovative visions to create
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portrayals of human pathos.
McMillan, Scott - Promise

1999, steel, wood, concrete, 211" x 53" x 53" Promise is an elongated child’s highchair made of
steel and elevated high above the viewer’s head. Set on long, wooden beams and a concrete base,
alluding to the needed support given by parents, the tall work symbolizes a child’s future and his
or her potential, distant yet obtainable. In reference to this particular sculpture, the artist has
stated, "We are all born with the promise that life holds. With proper guidance and self-discipline,
we can fulfill this promise." Chairs, created as metaphors, hold a prominent place in Scott
McMillin’s body of work. These objects are conceived of as representations of the artist’s
explorations of emotional experiences that are shared by everyone.
Mehlman, Ron - Compression and Expansion

2000, onyx, glass; 51" x 61" x 24" Brooke Barrie noted in a catalog essay for a solo exhibition,
“Ron Mehlman’s sculptures come alive with light .luminosity is fundamental to his sculptures.”
As paradoxical as it may sound, Mehlman joins light – an ephemeral, intangible phenomenon –
with stone. By incorporating the first and sculpting the other, the usual inherent characteristics of
stone, its weight, density and solidity, are questioned by the viewer. In Compression and
Expansion, Mehlman cut away at the onyx, layer by layer, on one side to allow it to become
translucent and to also expose the inner, glowing golden color. Plates of glass, placed on end and
compressed by the onyx on both sides, form another conduit for light, further adding to the
work’s luminosity while contrasting with the natural hues and the wide variety of unique textures
of the stone’s untouched surface areas. About this work Mehlman has stated, “I juxtapose the
warm translucency of the stone against the cold watery transparency of the layered glass. The
textured edges, the strict verticals, and the naturally occurring surface drawing are remindful of
the paintings of some abstract expressionists.”
Contrast with Spath who also combines glass and stone as in Fluxus.
Pepper, Beverly - Split Ritual II

1992, cast ductile iron, 120" x 96" x 96" In the late 1970s, Pepper made a series of works referred
to as "Sentinels" in cast iron, a material she pioneered as an artistic medium. (Contrast with
Allentown Council) Cast ductile iron afforded Pepper the option to work in a greater range of
forms and textures than was possible with Cor-ten steel or stainless--the metals she used in earlier
sculptures. In general, the power and presence of works from this series are suggestive of
monuments, influenced in a physical sense as well as a symbolic one by the architecture and
piazzas commonly found in historic towns and cities in Italy, where Pepper has lived.
She continued to explore and expand upon the subtle connotations of power and spiritual
presence in other sculptures, such as ones from her Marker series. They are tall and totemic, in
that sense, akin to obelisks, and identified by their distinctive shapes which the artist describes as
"metamorphosed tools." The scale, soaring verticality, and cast iron "weathered" surface of these
sculptures transcend literal representations and convey a multitude of archetypical associations
along with a pervasive primal bearing. These particular works are similar in form to Split Ritual
II (1992), which is part of the collection at Grounds For Sculpture.
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Perlman, Joel* - High Spirit

1998, fabricated aluminum, 246" x 100" x 81" For Joel Perlman, sculpting is an adventure and each
work is the record and result of an exploration of weight, danger, negative space, and monumentality.
His process is one that is tied closely to the materials and to the construction and deconstruction that
take place during the creation of his sculpture. Perlman often starts by cutting shapes, primarily out of
steel, and then welds them together to create the sculpture. About the process of welding, Joel
Perlman has said, “I was immediately transfixed by the whole process. The raw power at your
disposal, that you could take two pieces of metal, there would be a flash and a buzz, and suddenly
they’re one single piece...I felt I’d found a work process that could keep up with my thought process.”
The obvious joining lines, surface nicks and scratches record the process of creation, are evidence of
the hand of the artist, and articulate a relationship between painting and sculpture. High Spirit,
fabricated at the former Johnson Atelier Technical Institute of Sculpture, is a monumental example of
the final product of the this process. There are no preliminary drawings, for Perlman sees his work as
evidence of a process, and the result of an activity. Perlman’s sculptures contain an acknowledged
influence of Russian Constructivism in their glory of the geometric form. His works are also known
for the central, open spaces that are integral to his work. These negative spaces help define the work
and are as important to Perlman as the sculpture itself.
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. See
http://www.joelperlman.com.
Reginato, Peter - Lune Bleu and Mummenschanz (two works)

Often referred to as a “maximalist,” Peter Reginato has become primarily known for his vibrantly
painted and spirited abstract sculptures. However, this bold use of color is a more recent development
in his work. Lune Bleu and Mummenschanz, are representative of a period of production that
concentrated on the importance of engineering in the sculptures. As he explored the boundaries of the
materials, Reginato began to push the limits of balance by making the pieces taller and more top-
heavy, resulting in a cantilever. A flurry of folded triangles and other more rounded shapes are
supported by a tall, thin, triad of legs. The steel is unpainted and treated only with a clear protective
coating.
Ressler, Robert - Aluna

1997, cast bronze, 125" x 48" x 48" The myth of Aluna is from the Kogi Indians who inhabit the
mountains in the north of South America.: In the beginning there was only aluna, the amniotic sea, the
Cosmic principle: the Mother. The Mother concentrated, the nothingness which was the original sea
of thought, spirit and fertility pondered and conceived the idea of the world. It began with a womb, a
world-house, which was a cosmos. This was the great egg of the universe. See more on Aluna in the
Appendix.
Notice the wide open mouth, slanted to give the opening greater presence and the womb like shape.
This towering bronze work was cast in 1997 at the Johnson Atelier Technical Institute of Sculpture
from an original also entitled Aluna, that was carved from a sycamore trunk. Aluna is Ressler's first
Large-scale cast bronze sculpture.
48
See http://www.robressler.com/articles/art13.htm.
Ressler, Robert - Baruch Ashem

1989, wood, copper, concrete, 168" x 384" x 384" See http://www.robressler.com Baruch Ashem,
made of assorted hardwoods, consists of eight undulating columns which support a radial
structure of stripped branches, creating an open roof. The sculpture 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.
Ricado Barros, in FACING SCULPTURE, Image Spring Press 2004 writes "Ressler whittles
trees intuitively, substantially altering their form without significantly diminishing their size.
Initially using a chainsaw, he carves preliminary shapes out of felled limbs and trunks,
progressing to finer hand tools as his vision emerges. His finished works retain the sense of
organic movement and growth. Both figurative and, more recently, abstract, his works employ
simplified forms to present a sympathetic, robust interpretation of life in the natural world."
Among docents the meaning of the phrase "Baruch Ashem" has caused some controversy. Some
say "Baruch Ashem" in Hebrew means "blessed is the guilt." There is a similar phrase, Baruch
HaShem which can be literally translated "Blessed is the Name" referring to the name of God.
These words are declared at times of great joy, of hope, or of relief.
However a search of the WEB for "Baruch Ashem" yields a variety of uses of the phrase with the
meaning thank God and Hello or Welcome. The details are below.
More importantly, however, "blessed is the guilt" would not make sense in terms of the work
itself or in terms of the spiritual allusions of Ressler's other works like Aluna.
And Baruch HaShem doesn't necessarily mean "Blessed is the Name." In daily usage it means
"Thank God." For Example "Mah nishma?" is the Hebrew version of "What's new?" It's an
innocuous, universal greeting which needn't mean much more than a passing hello. The answer
given is usually Baruch Hashem -- Thank God, which can mean anything from "Great!" to "Don't
even ask. My enemies should have my troubles!" Often, upon hearing a dubious sounding Baruch
Hashem, the questioner will respond with, "Gee, what's wrong?"
From the WEB:
1 - from a play, SOULS A BURNIN: The Personal Correspondence between a Jewish Mother and
a Black Bum
(A Work in Progress) By Kevin "Bumdog" Torres, at
http://www.anotheramerica.org/souls_aburning.htm
TIME: Late morning
PLACE: Fairfax district of Los Angeles Ca.
CHARACTERS: Ruth: Middle-Age Orthodox Jewish Mother of Four and Kevin: Homeless
Black Man
Reader’s Note: This is a short adaptation of the first chapter of a novel. The selection is taken
from Act 1.
49
Ruth and Kevin meet as Kevin is rifling through her trash bins.
.
KEVIN: Then what does Baruch Ashem mean? Doesn’t it mean thank God?
RUTH: How did you know that?
KEVIN: Because I know in Arabic "Thank God" is "Amdullila," So I asked this orthodox Jew what it
meant in Hebrew.
RUTH: Yes, Baruch Ashem means "Thank God", but not literally. Ashem means the name or master.
We say thank the name or the master but we don’t say God because God is too holy to be spoken by
men.
KEVIN: Then where’d they get Yahweh from?
RUTH: That was the Greeks when they were translating the Old Testament they made a lot of
mistakes because Greek letters all signify sounds but the Hebrew alphabet have letters that are meant
to mean both sound and symbols. We write the word God but we don’t actually say it. Because God is
too great to be expressed in words. But the Greeks, they didn’t understand this or the ones who wrote
it decided not to go along with it. When they saw the letter for God they decided to give a sound-JA
or Jahweh or Yahweh etc. Sit down I’ll show you.
.
2 A list of Hebrew words at http://www.bambili.com/right_asp/words_engen1.asp has
Hello - SHALOM
Hello / Welcome - BARUCH HABA!
Thank to god - BARUCH ASHEM
3 - A Christian minister's WEB page, http://www.weaverwebpage.org/: "Baruch Ashem. Presently
(August 28th) I am in Phoenix, Arizona where I received an invitation to speak at a Jewish Messianic
congregation. I had the very unique opportunity to address a wonderful congregation of Jewish
believers. They go by the name Baruch HaShem (Bless the Name)."
4 - THE KRUSHER'S , a rock group, http://www.thekrushers.net/mp3.htm, lists the work - Apologia
della Violenza (from "Baruch Ashem")
5 - From email posted at shakti.trincoll.edu/~mendele/vol02/vol02.185: Date: Mon, 26 Apr 93 17:23
EDT From: Regina_IGEL@umail.umd.edu (ri1) Subject: Yiddish theater/show/camp? Hi Mane liebe
mentche! -- My parents are coming from Brazil for a visit, and I would like to take them to see a
play,. Baruch Ashem. Thank you in advance for any recommendation, Far Simches und Naches!
Rifka Igel
Roesch, Robert and Horvitz, Suzanne Reese - Transduction - Hamilton

11' stainless steel, corten steel, gold leaf, and solar power
“The act of moving from one environment to another is of great interest to me. For me, the pyramid
is a symbol of ascension. I attempt to combine the raw strength of steel with the gentle elegance of
formal shapes to create a precarious balance of opposite feelings.” Robert Roesch
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Horvitz adds painterly surface treatments that establish Transduction – Hamilton placement in a
mapping context.
While they are known throughout the world for their unique individual art, Robert Roesch and
Suzanne Reese-Horvitz have collaborated on many large-scale public commissions in glass and
steel, and have served as cultural advisors to United States embassies in the Middle East, South
America, and Southeast Asia. Their pieces explore the scientific as well as the aesthetic,
combining the issues of a “green” world by using solar power to soften and transform the severity
of the planes of cor-ten steel which comprise their work. Whereas Roesch’s contribution to the
collaboration deals with formal shapes and the raw power of the sculptural medium, Reese-
Horvitz adds painterly surface treatments that establish Transduction – Hamilton’s placement in a
mapping context.
Spath, Christoph - Fluxus

1999, Vermont verde antique serpentine, plate glass, neon light, 84" x 84" x 36" Fluxus is made
from Vermont verde antique serpentine, a stone deep green in color, with the insertion of modern
plate glass and neon. Spath incorporates transmitters of light into his works of stone. The portion
of the surface left in a raw state plays against the various textures of the direct carved areas, and
the whole is accented with a bold slice of light. To the artist, the illuminated void represents the
interior, an unknown space, the soul.
Evidence of the quarrying is left intact by retaining drill marks or split surfaces. On other areas
tool marks are prominent, indicating carving methods, and some sections of the surface are
smoothed and highly polished, exposing the rich color of the natural material. This visual
sequencing of process, from the raw to the finely polished, brings attention to the intervention of
artist. Stone is a material that is hard, dense, and solid, yet yields to the artist's hand. The artist
becomes a catalyst, revealing hidden properties of the stone while simultaneously imbuing the
work with his creative force.
Christoph Spath was the head of the Stone Division at the Johnson Atelier Technical Institute of
Sculpture and is now at the Digital Stone Project.
Fluxus is an art movement whose origins lie in many of the concepts explored by composer John
Cage in his experimental music of the 1950s. Cage explored notions of chance in art, through
works such as 4' 33", which influenced Lithuanian-born artist George Maciunas.Maciunas (1931–
1978) organized the first Fluxus event in 1961 at the AG Gallery in New York City and the first
Fluxus festivals in Europe in 1962.
While Fluxus was named and loosely organized by Maciunas, the Fluxus community began in a
small but global network of artists and composers who were already at work when Maciunas met
them through poet Jackson Mac Low in the early 1960s. Cage's 1957 to 1959 Experimental
Composition classes at the New School for Social Research in New York City were attended by
Fluxus founding members Jackson Mac Low, Al Hansen, George Brecht and Dick Higgins, many
of whom were working in other media with little or no background in music. Another cluster of
Fluxus artists was connected to each other through Rutgers University. Many other artists were
invited by Cage to attend his classes unofficially at the New School. Marcel Duchamp and Allan
Kaprow (who is credited as the creator of the first "happenings" See Appendix.) were also
influential to Fluxus. In its early days Fluxus artists were active in Europe (especially in
Germany), and Japan as well as in the United States.
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Fluxus encouraged a do it yourself aesthetic, and valued simplicity over complexity. Like Dada
before it, Fluxus included a strong current of anti-commercialism and an anti-art sensibility,
disparaging the conventional market-driven art world in favor of an artist-centered creative practice.
As Fluxus artist Robert Filliou wrote, however, Fluxus differed from Dada in its richer set of
aspirations, and the positive social and communitarian aspirations of Fluxus far outweighed the anti-
art tendency that also marked the group.
In terms of an artistic approach, Fluxus artists preferred to work with whatever materials were at
hand, and either created their own work or collaborated in the creation process with their colleagues.
Outsourcing part of the creative process to commercial fabricators was not usually part of Fluxus
practice.
Fluxus is similar in spirit to the earlier art movement of Dada, emphasizing the concept of anti-art and
taking jabs at the seriousness of modern art. Fluxus artists used their minimal performances to
highlight their perceived connections between everyday objects and art, similarly to Duchamp in
pieces such as Fountain. Fluxus art was often presented in "events", which Fluxus member George
Brecht defined as "the smallest unit of a situation". The events consisted of a minimal instruction,
opening the events to accidents and other unintended effects. Also contributing to the randomness of
events was the integration of audience members into the performances, realizing Duchamp's notion of
the viewer completing the art work.
The Fluxus artistic philosophy can be expressed as a synthesis of four key factors that define the
majority of Fluxus work:
1. Fluxus is an attitude. It is not a movement or a style.
2. Fluxus is intermedia. Fluxus creators like to see what happens when different media intersect.
They use found and everyday objects, sounds, images, and texts to create new combinations
of objects, sounds, images, and texts.
3. Fluxus works are simple. The art is small, the texts are short, and the performances are brief.
4. Fluxus is fun. Humour has always been an important element in Fluxus.
Stewart, Dana - 12 Fantasy Animals

GFS has thirteen sculptures by Dana Stewart. 12 of them are on loan and one is owned by the
Sculpture Foundation. Rats also has a few rat like sculptures by Stewart.
“The sculpture is what you see, what the observer sees.” — Dana Stewart
Stewart, Dana* - Lester

1996, cast bronze, 1/5, 50" x 86" x 31" Circling a ring of yews in the sculpture park are a dozen
bronze fantasy beasts by Dana Stewart. Lester is one of the larger those beasts. The individual
characters are based upon the artist’s own imaginary menagerie. Playful, whimsical, and amusing at
first appearance, 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
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the textured bodies aid in relaying this tension between lighthearted whimsy and the darker range
of emotions.
Dana started his “Beast” series in 1976. Rooted in fantasy and fairy tale, he got the idea when he
saw a picture of an African dog with nails driven into it. “I made this animal and I gave it this tail,
long and round at the right angle. It was pretty phallic and I said to my fellow teachers, ‘What do
you think?’ They said, ‘We like it, except that tail bothers us’. Bingo…that was my hook. And the
tails have been getting longer ever since.”
He sculpted a rat called “Sitting on his Laurels,” noting that most people are turned off by rats
because of their “kahonas” and their hairless, long tail. He exaggerated those features and sold
one of them to Seward Johnson who installed it in the rest room of Rats Restaurant. Other beasts
he has made include Suburbus (“You’ve heard of Cerberus, the guardian of the underworld? This
is the guardian of the suburbs.”) and Narcissy, who looks backwards, admiring its own tail. At
New Hope’s library is his work Baileygator. Dana says, “I went down to the flea market and I
found this wooden alligator. I extended the legs and padded it with foam. It’s got a big alligator
mouth and lips inside the mouth. A conundrum is to kiss the lips of the Baileygator….It’s
dangerous!” "The gentle wit and friendship of Dana’s “Beasts”, along with their frequently
satirical titles, reflect the artist’s own sense of whimsy and generous spirit. By focusing his
attention and vivid imagination on animals he provides the opportunity to bring humor into the
viewer’s life. I’ve long admired and at times envied sculptors whose work seems to be as much
fun to create as it is to look at and live with."1
Dana tries to make his work mysterious enough that people must use their imagination. The
beasts seem familiar but there’s something eerie about them. “I never give it away,” says Dana. “I
let people figure it out themselves.” His biggest influences have been Surrealism’s Max Ernst and
Salvador Dali. His inspiration comes from stories, the ocean, animals and human nature. “When I
start a piece, I don’t know what I’m going to do. I don’t sketch but just start playing with shapes
and have fun. It’s like ‘automatic sculpting.’ The adventure is that you don’t know what’s going
to come out. I work directly in wax and if I like it, I make a mold for bronze.”
Accepting an invitation from Herk Van Tongeren Stewart became head of the Johnson Atelier’s
ceramic shell department. After ten years later, he started his own atelier, Stewart Sculpture
Casting in Lambertville, New Jersey.
Dana also has a wide range of other sculptures. See http://danalorenstewart.com/foundry.html.
1. Brooke Barrie, Chief Operating Officer & Curator 2006, Grounds For Sculpture
Stewart, Dana - Sue’s Nightmare

1999 cast bronze This is one of the fantasy animals by Dana Stewart in GFS. There is an explicit
narrative that can be associated with this sculpture. Sue was the name given to one of the first
fossils that was studied in modern times. The head resembles a dinosaur’s head but the shape of
the body reminds one a rodent! Perhaps the nightmare is the curse, in the case of the Dinosaur, of
evolution! Sue’s Nightmare and 11 other animals are on loan from the artist.
Sugerman, George - Doubles

1984, painted aluminum
53
Vladescu, Stefan - Steel Flat

Steel Flat is executed in highly polished stainless steel with a base of beautiful Italian marble.
Vladescu’s sculptures are deeply personal and “each one of [his] sculptures is an individual chapter,
representing a significant event or life experience.” In his own passionate words, Vladescu speaks
about his life and zeal for sculpture, and later about his insight for Steel Flat:
"When I was about five years old my grandfather gave me a small pocket knife in the
shape of a fish. With it I sculpted faces in the fallen bark from pine or chestnut trees in
Bucharest, Romania. My parents enrolled me in the School for Plastic Arts in Bucharest.
Working with clay, making copies of old masterpieces was all I wanted to do. I was eight
years old and carried in my pockets pieces of ‘Plastillina’2. Because of my parents’
professions, I was lucky enough to travel and live in many countries, from Romania to
Israel to France, from Martinique to the Caribbean, and finally to the United States. I
studied art all my life from Fort-de-France in Martinique to Hunter College in New York
City. My sculptures are part of me and for the most part they represent chapters of my
life. The first 25 years of sculpting I was influenced by Existential philosophers—Jean
Paul Sartre and Albert Camus. I tried to portray in my sculpture the absurdity of life as
well as free will. Now I am not so sure about the notion of free will and my works have
changed towards a more fatalistic view of existence."
"I was so shocked by the events of 9/11 and its repercussions that I decided to express
myself through sculpting. I thought of the religious wars of a thousand years ago, when
people believed the Earth was flat. I also thought of how much Humanity has achieved
since then, specifically in the fields of technology and medicine…and yet, how little it
has advanced from the standpoint of the Human condition…since here we are a thousand
years later with wars raging almost every decade. Steel Flat is as much a play on words
as it is an observation on the Human condition."
1. “Stefan Matty Vladescu,” ARTisSpectrum, vol. 11/6, 1999, 36. 2. “Plastillini” refers to
an oil-based modeling clay.
Ward, Cilfford - Jubilant Dancer

2001, cast bronze, 72" x 48" x 24" Ward has combined two art forms, dance and sculpture, in his new
work, Jubilant Dancer, He has long admired the talents of dancers and choreographers like Alvin
Ailey, Twyla Tharp, and George Ballanchine in their ability to create an illusion of defying gravity.
This strong interest in the lines, lightness, and grace of artistic and athletic movement has inspired
Ward to produce a series of sculptures. Each figure in the series, including Jubilant Dancer, is
differentiated from the others through its actions and attire. Ward makes many of his "dancers"
through a unique process that utilizes plastic wrap and various paper products. However, Jubilant
Dancer was cast in bronze from a plaster model at the Johnson Atelier. Ward worked at the Johnson
Atelier after first serving as an apprentice in 1997-1998.
Wilson, Roy - Resting Place

1990, steel, 156” x 312” x 96” Note the moving red objects - a simple kinetic piece. Wilson’s work,
54
although abstract in style, reflects elements found in nature and the artist’s continuing interest in
environmental concerns. The tall slightly arched white tubes of steel in Resting Place are
evocative of reeds growing along wetlands while nine copper-colored vanes in the shape of birds
rest atop the stalks and turn in response to offshore breezes. Wilson has installed many outdoor
works constructed with kinetic components that react to the wind, water, or tides unique to each
specific site. Pieces are often large-scaled, but through the use of graceful lines and simple forms,
they impart a classic and soothing elegance.
Witkin, Isaac - Rapunzel Tree

Rapunzel Tree, unlike Ode to a Possum, is the outcome of one of my father’s more hopeful and
optimistic moments, when he was also at the height of his creative powers and mastery.This
1,100lb bronze is inspired by mythic figures made abstract, soaring into the heavens, fantastic,
exquisite, beautiful.Years ago, I once overheard a dealer tell a potential client, “Isaac does lots of
trees; he loves making trees.”Horrified, I cringed at the description, which at the time sounded so
trite and simplistic and ignorant—so lacking in understanding of my father’s aesthetic aspirations
and achievements. Although, in retrospect, I embrace, rather than cringe, at the fact that my father
created lots of trees—Linden Tree, Hawthorne Tree, and all its variations, and Rapunzel Tree—
since the tree is a sign of hope and renewal; it is the ultimate symbol of enduring wisdom and of
life itself." - Nadine Witkin, Summer 2007
"Rapunzel Tree, unlike Ode to a Possum, is the outcome of one of my father’s more hopeful and
optimistic moments, when he was also at the height of his creative powers and mastery.This
1,100lb bronze is inspired by mythic figures made abstract, soaring into the heavens, fantastic,
exquisite, beautiful.Years ago, I once overheard a dealer tell a potential client, “Isaac does lots of
trees; he loves making trees.”Horrified, I cringed at the description, which at the time sounded so
trite and simplistic and ignorant—so lacking in understanding of my father’s aesthetic aspirations
and achievements. Although, in retrospect, I embrace, rather than cringe, at the fact that my father
created lots of trees—Linden Tree, Hawthorne Tree, and all its variations, and Rapunzel Tree—
since the tree is a sign of hope and renewal; it is the ultimate symbol of enduring wisdom and of
life itself." Nadine Witkin, Summer 2007
Rapunzel, the story

There were once a man and a woman who had long in vain wished for a child. At length the
woman hoped that God was about to grant her desire. These people had a little window at the
back of their house from which a splendid garden could be seen, which was full of the most
beautiful flowers and herbs. It was, however, surrounded by a high wall, and no one dared to go
into it because it belonged to an enchantress, who had great power and was dreaded by all the
world. One day the woman was standing by this window and looking down into the garden, when
she saw a bed which was planted with the most beautiful rampion1 - Rapunzel, and it looked so
fresh and green that she longed for it, and had the greatest desire to eat some. This desire
increased every day, and as she knew that she could not get any of it, she quite pined away, and
began to look pale and miserable.
Then her husband was alarmed, and asked, what ails you, dear wife. Ah, she replied, if I can't eat
some of the rampion, which is in the garden behind our house, I shall die. The man, who loved
her, thought, sooner than let your wife die, bring her some of the rampion yourself, let it cost
55
what it will. At twilight, he clambered down over the wall into the garden of the enchantress, hastily
clutched a handful of rampion, and took it to his wife. She at once made herself a salad of it, and ate it
greedily. It tasted so good to her - so very good, that the next day she longed for it three times as
much as before. If he was to have any rest, her husband must once more descend into the garden. In
the gloom of evening, therefore, he let himself down again. But when he had clambered down the
wall he was terribly afraid, for he saw the enchantress standing before him.
How can you dare, said she with angry look, descend into my garden and steal my rampion like a
thief. You shall suffer for it. Ah, answered he, let mercy take the place of justice, I only made up my
mind to do it out of necessity. My wife saw your rampion from the window, and felt such a longing
for it that she would have died if she had not got some to eat. Then the enchantress allowed her anger
to be softened, and said to him, if the case be as you say, I will allow you to take away with you as
much rampion as you will, only I make one condition, you must give me the child which your wife
will bring into the world. It shall be well treated, and I will care for it like a mother.
The man in his terror consented to everything, and when the woman was brought to bed, the
enchantress appeared at once, gave the child the name of Rapunzel, and took it away with her.
Rapunzel grew into the most beautiful child under the sun. When she was twelve years old, the
enchantress shut her into a tower, which lay in a forest, and had neither stairs nor door, but quite at the
top was a little window. When the enchantress wanted to go in, she placed herself beneath it and
cried,
Rapunzel, Rapunzel, let down your hair to me.
Rapunzel had magnificent long hair, fine as spun gold, and when she heard the voice of the
enchantress she unfastened her braided tresses, wound them round one of the hooks of the window
above, and then the hair fell twenty ells down, and the enchantress climbed up by it.
After a year or two, it came to pass that the king's son rode through the forest and passed by the
tower. Then he heard a song, which was so charming that he stood still and listened. This was
Rapunzel, who in her solitude passed her time in letting her sweet voice resound. The king's son
wanted to climb up to her, and looked for the door of the tower, but none was to be found. He rode
home, but the singing had so deeply touched his heart, that every day he went out into the forest and
listened to it. Once when he was thus standing behind a tree, he saw that an enchantress came there,
and he heard how she cried, Rapunzel, Rapunzel, let down your hair.
Then Rapunzel let down the braids of her hair, and the enchantress climbed up to her. If that is the
ladder by which one mounts, I too will try my fortune, said he, and the next day when it began to
grow dark, he went to the tower and cried, Rapunzel, Rapunzel, let down your hair.
Immediately the hair fell down and the king's son climbed up. At first Rapunzel was terribly
frightened when a man, such as her eyes had never yet beheld, came to her. But the king's son began
to talk to her quite like a friend, and told her that his heart had been so stirred that it had let him have
no rest, and he had been forced to see her. Then Rapunzel lost her fear, and when he asked her if she
would take him for her husband, and she saw that he was young and handsome, she thought, he will
love me more than old dame gothel does. And she said yes, and laid her hand in his.
She said, I will willingly go away with you, but I do not know how to get down. Bring with you a
skein of silk every time that you come, and I will weave a ladder with it, and when that is ready I will
descend, and you will take me on your horse. They agreed that until that time he should come to her
every evening, for the old woman came by day. The enchantress remarked nothing of this, until once
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Rapunzel said to her, tell me, dame gothel, how it happens that you are so much heavier for me to
draw up than the young king's son - he is with me in a moment. Ah. You wicked child, cried the
enchantress. What do I hear you say. I thought I had separated you from all the world, and yet you
have deceived me. In her anger she clutched Rapunzel's beautiful tresses, wrapped them twice
round her left hand, seized a pair of scissors with the right, and snip, snap, they were cut off, and
the lovely braids lay on the ground. And she was so pitiless that she took poor Rapunzel into a
desert where she had to live in great grief and misery.
On the same day that she cast out Rapunzel, however, the enchantress fastened the braids of hair,
which she had cut off, to the hook of the window, and when the king's son came and cried,
Rapunzel, Rapunzel, let down your hair, she let the hair down. The king's son ascended, but
instead of finding his dearest Rapunzel, he found the enchantress, who gazed at him with wicked
and venomous looks. Aha, she cried mockingly, you would fetch your dearest, but the beautiful
bird sits no longer singing in the nest. The cat has got it, and will scratch out your eyes as well.
Rapunzel is lost to you. You will never see her again. The king's son was beside himself with
pain, and in his despair he leapt down from the tower. He escaped with his life, but the thorns into
which he fell pierced his eyes.
Then he wandered quite blind about the forest, ate nothing but roots and berries, and did naught
but lament and weep over the loss of his dearest wife. Thus he roamed about in misery for some
years, and at length came to the desert where Rapunzel, with the twins to which she had given
birth, a boy and a girl, lived in wretchedness. He heard a voice, and it seemed so familiar to him
that he went towards it, and when he approached, Rapunzel knew him and fell on his neck and
wept. Two of her tears wetted his eyes and they grew clear again, and he could see with them as
before. He led her to his kingdom where he was joyfully received, and they lived for a long time
afterwards, happy and contented.
_________________________________
1. Rampion is found wild in England, on gravelly roadsides and hedgebanks and in open pastures,
from Stafford southwards, but it is uncertain whether it should be held as a true native in the
localities in southern England, where it is now established.
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Brilliance/Moby Dick/Water Garden/CourtyardsBrilliance/Moby Dick/Water Garden/Courtyards
Brilliance/Moby Dick/Water Garden/Courtyards

Abakanowitz, Magdalena - Sage B and Sage*
"Sage," 1988, and "Sage B," 1990, both cast bronze. 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 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.
Abakanowitz was born in Poland in 1930, and she continues to reside in Warsaw. She has lived to
witness years of war and the resultant succession of political, social, and economic upheavals. Her
sculptures profoundly reflect the loss, hardships, and repression of those times and their effects on the
human condition.
Although Abakanowitz’s body of work conveys associations with the artist’s personal history and that
of her country, her sculptures speak to everyone through a universal language. Abakanowitz’s talent
lies in her ability to distill from experiences, impressions, and political events powerful statements
that are presented through her installations consisting of identical sculptures of metaphoric forms and
figures.
Benazzi, Raffael - Primavera (Figure No. 1439)

Primavera (Figure No. 1439), cast in bronze, dates from a time early in Benazzi’s career, 1967-68.
The swelling, rounded forms are arranged symmetrically and while abstract, the composition evokes
references to the female figure and is representative of the cavernous voluptuous forms that typify his
oeuvre.
Benazzi most enjoys the challenge of manipulating “living” material, whose texture resisted him and
had been marked by life. For example, Benazzi directly carves alabaster and eucalyptus trunks into
powerful, voluptuous forms that remain true to the character and natural kinetics of the original stone
and wood respectively. Benazzi’s sculptures possess the certitude of primitive idols with no distinct
historical context. The pieces are often split or hollowed out and invite the eye to penetrate the
shadowed interior. Like Etienne-Martin, but in his own idiom, Benazzi offers us dwellings as
attractive and satisfying to the mind as to the senses.
The Primavera is also a painting by the Italian Renaissance painter Sandro Botticelli, c. 1482, at the
Uffizi Gallery of Florence. Part of the painting consists of the Three Graces. See Part 2
Benshalom, Itzak - Facing Couple*

1999, 66" x 146" x 106". The theme of couples, two people with separate identities but nearly joined
together as one, is a reminder by the artist that not only does life continue through the pairing of
opposites, but also that people seek companionship, preferring it to solitude. Note the way the legs
cross, from one view they seem like female legs, from another there is only one male leg and one
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female full leg. Notice how the sculpture is framed when you look at it through the entranceway.
Characteristic of Benshalom sculptures are the very different ways the appear from different
viewpoints.
Benshalom often pairs figures--one male and one female--to portray relationships and human
interaction. Facing Couple is an 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.
BenShalom: I have a passion for life and for what makes the world go round: relationships, man
and woman, family; this is what my work is about, my work flows, as life flows. I tell people not
to think about my work, if they love it, just love it, that's what I do.
Benshalom established a foundry with his brother-in-law in 1967, specializing in the traditional
lost wax technique of metal casting. After fifteen years of collaborating with artists, Benshalom
decided to take the many creative ideas he had been formulating in his mind and realize them
himself in bronze.
Benshalom: "The day I stopped doing other people's work and cast my first bronze, is the day my
life began."
See http://www.itzikbenshalom.com/
Benton, Fletcher - Folded Circle Ring
1989, Cor-Ten steel, 151" x 144" x 108 Folded Circle Ring is part of an important series of Cor-
Ten steel pieces that explore and balance geometric proportions. This large-scale work is a
juxtaposition of a simple open circle with a solid disc that is folded and angled, composed to
examine the proportions, divisions, and relationship between the two shapes. The work achieves a
bold, aesthetic impact through clean, simple, economic forms reinforced by its large size.
Benton's sculpture is never a flat silhouette, except, sometimes, when seen from a distance. Their
sculptural components are best appreciated by walking around the sculpture to see compositional
diagonals, tiers, displacements, and towering acrobatic stacks.
Compare plays on geometry with Lundberg and contrast with John Rupert's Pumkins. See The
New Constructivism of Fletcher Benton, by Kolberg, Neubert, Selz, and Tuchman.
Blitz, Ava - Moby Dick

Joan Schornstaedt "Janet Neufield told me that she was at GFS the day Ava Blitz came to install
Moby Dick. She had disassembled it in her studio and didn’t label the pieces. So she couldn’t
easily figure out how to put it back together. She finally got it right."
Caro, Anthony - Potpourri

1976-77, 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.
Caro is one of the foremost sculptors and influential teachers of the post-war years. Dinnerstein
was one of his students. Caro studied sculpture in London from 1946 to 1952, then served as an
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assistant to Henry Moore for two years. Influenced by: David Smith and his assemblages of steel and
iron. Caro, in turn, adopted the non-traditional technique of welding found or prefabricated metal
elements and, using his own formal and structural vocabulary, created linear, abstract compositions.
In a further break with convention, Caro eliminated the use of bases and placed his works directly on
the floor.
See http://www.anthonycaro.org/.
Cline, Lyden - Several months before you were born, I was married a
man who wasn't your father
Very personal, narrative, works – 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. Cline: "The four chairs in the piece
represent the people involved." email: Lyncmail@earthlink.net phone: 301/773-4078.
Crowder, Susan - Footpath

1982, marble, 8" x 77" x 24" The smooth gray 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 installations1.
After the Fall/Winter 97/98 Exhibition at Grounds For Sculpture, where the four marble elements
were placed on the floor amongst worn river rocks that formed an imaginary stream bed, "Footpath"
was moved from the Domestic Arts Building to its present location in the Water Garden.
1. An example is "Memorial," at Bard College in New York with grass terraces divided by two sets of
granite steps incorporated into the design of a new playing field, honors those Bard students who
have died in wars since the college was founded.
Devrishian, David Allen - Untitled (3 works)

Three steel sculptures were gifted to The Sculpture Foundation, Inc., by the estate of David Allen
Devrishian. A self-taught artist, Devrishian created light-hearted works filled with whimsy. His
unique sculptures made with hand-colored ribbons of metal or lace-like welded steel are unusually
delicate, airy structures. Playful in concept, the three works on view at Grounds For Sculpture were
inspired by nature, following outdoor themes. Two of the pieces feature butterflies alighting on
imaginative plants and a third is of abstracted leaf and flower forms. The reflective, textured and
sanded surfaces add a radiant shimmering quality to each one on a sunny day.
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Dusenbery, Walter - Porta Stazzema

1979, travertine
Fisher, Rob - Windjammer

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 flowing water.
Sculptor Rob Fisher, is an innovator in the use of computers to create monumental pieces of
architectural sculpture. Fisher created the "American Dream" architectural sculptures in the
arrivals hall of the international terminal in the Philadelphia International Airport. The series
includes signatures, quotes from and images of the Declaration of Independence. His lecture is
titled "Zen-gineering: process and art.
Fisher, described the impetus to use art and technology to express himself. "The Holocaust and
Hiroshima were products of science and technologies that were designed to kill humans on a
mass scale," he writes. "I never forgot this, and I believe that it deeply affected my desire to, in
my own small way, take science and technology and apply it to deeply humane enterprises, ones
that support the human spirit, not destroy it."1
Rob Fisher was part of ScArt4, The Fourth International Symposium of Science and Art,
organized by Rutgers University professor Norman J. Zabusky. Zabusky, like Fisher, knows there
has long existed a belief in a "cultural divide" between artists and scientists. He doesn't buy it.
The mechanical engineering professor of computational fluid dynamics — which is the study of
the state of matter, i.e., liquids and gases — has long perceived a kinship between art and science.
The theme of ScArt4 was how science and technology stimulate the creation of artwork and even
spawn new forms of art.
ROB FISHER SCULPTURE, LLC is the company that Sculptor Rob Fisher formed in the
1990’s. His family and studio staff are continuing to operate the studio, completing and installing
the works that were in progress at the time of his sudden death on September 13, 2006.
Rob Fisher Sculpture, LLC is also producing new artworks in aluminum, stainless steel, light and
color that honor Rob’s artistic legacy and are inspired by his design direction, aesthetic, and
creative sensibility. See http://www.robfisheramericandream.com,
http://www.sculpture.org/portfolio/sculptorPage.php?sculptor_id=1000080
1. Quoted in Home News Tribune Online 06/5/05 By Laurie Granieri, Staff Writer
granieri@thnt.com.
Frank, Mary - Sundial

Mary Annella Frank (b. 1954) combines her formalist sensibilities with symbols to create
psychologically “loaded” objects. Her sculptures portray personal idioms and their connection to
symbols of power. Common and obscure objects within her pieces portray feelings of conflict,
love and frustration. As she conjures vignettes of discord and self-examination, Frank alludes to
the threats inherent in human interaction. Objects both found and crafted, are bound together
physically, and emotionally.
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See http://www.sculpture.org/portfolio/sculptorPage.php?sculptor_id=1000080,
http://maryannellafrank.com.
Graves, Bradford - Bamboo Night and Hung the Flesh of Living Fish (two
sculptures)
The making of sculpture may be taken as a desire for wholeness: the recognition of one’s
identity as part of the earth and its materials. In the confrontation of one’s inner image
with physical materials, a dialogue begins and the result is a sculptural statement.
Through this dialogue an attempt is made to clarify subject and object matter. The
material I have chosen to have a working dialogue with is stone.1 ~ Bradford Graves
Two sculptures, Bamboo Night and Hung the Flesh of Living Fish I, by Bradford Graves (1939 –
1998)and courtesy of the Bradford O. Graves Foundation, LLC, join Grounds For Sculpture’s outdoor
exhibition. Carved in limestone, the works are representative of Graves’ fascination with archeology
and the earth. Bamboo Night and Hung the Flesh of Living Fish I each 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. 2 (See
http://www.bradfordgraves.com.)
1. Bradford Graves, “The Making of Sculpture,” http://www.bradfordgraves.com/writing_making.htm
(6 Aug. 2006).
2. Burton Wasserman, Art Matters, May 1996. http://www.bradfordgraves.com/pres_more.html (6
Aug. 2006).
Gyampo, Mike - Just Chillin'

concrete & marble, 1996. The composition, shapes, and rhythms of the polished terrazzo "Just
Chillin'" were first explored in a smaller cast bronze version entitled "Innocent." Mike Gyampo was
born in Ghana, West Africa. He frequently incorporates traditional philosophical beliefs from this
country into his sculptures and paintings to convey spiritual and moral messages. This artist has
carved many of his works in wood, and others have been cast in bronze and cement.
Hatcher, Brower - Time Reversing

1991, stainless steel, brass, bronze, copper, iron Brower Hatcher has configured a multiple number of
thin stainless steel rods to create the linear web of "Time Reversing." The complex open weave
exemplifies the artist's technical and engineering skills, and indicates his ability to construct works of
combined materials that appear to be light and airy, effortlessly floating in space. Discover the tiny
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metal letters, numbers and objects forming focal points inside the web.
The sape of this sculpture can be contrasted with Rupert's skins under gravity. Hatcher has three
other sculptures in the park - all with wire frames with glass.
Howard, Joseph - Floating Arrangement

1992 cast bronze H. 72 x W. 46 1/2 x D. 23 1/2
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.
Isherwood, Jon - Secret Passage

1994-95, Pennsylvania Fox Hill granite Look into the passage, where does it lead you? For a
sculpture like this, I have to keep looking at it and let my mind wonder … think of the paths you
may have gone down … like Sandberg's poem "two roads divergeed in a wood …"
Isherwood is one of the founders of Digital Stone Project.
Jimenez, Luis - Mesteno

1994, fiberglass. Luis is the son of an illegal Mexican immigrant teaches college in Texas. There
are many festival and dance influences in his work. Mesteno is a mustang the South West USA.
Mesteno rises 8ft above its base. A similar sculpture Mustang but 32 feet is on the median strip of
Pena Boulevard leading into Denver International Airport. Sculpture quotes Susan Jimenez
saying the eyes honor his family's business and the tradition of enlivening sculpture with jewels
as eyes. “By relying on a “material of our times” commonly associated with industrial
manufacturing, Jimenez sought to create a sense of immediacy and relevance …” 3
Johnson, J. Seward - Day Dream
Removed. Bold, witty and playfully mischievous, J. Seward Johnson’s cast bronze Day Dream is
situated in the Water Garden adjacent to the Domestic Arts Building. Based on Henri Matisse’s
(1869 – 1954) famous painting, Dance, Johnson translates another two-dimensional classic into a
three-dimensional, real-life fantasy wherein Matisse’s dancers have stepped out of the canvas to
become part of an intriguing sculptural tableau. 1
Johnson’s work captures the expressive colors and the rhythmic movement portrayed in Matisse’s
painting. The five dancing figures are lively and energetic as their bodies move in full,
celebratory swing to, perhaps, the sound of folk music. Associated with Fauvism, the early 20th
century movement wherein artists created expressionistic works using pure color and simplified
lines, Matisse aimed to create a visual harmony on his canvases - perfectly uniting color and
composition. Johnson intends to maintain that harmony in his three-dimensional work, Day
Dream; however, with an extra twist and a remarkably daring sense of humor.
Copies of the original Matisse paintings are available on the Internet. These are worthwhile
3 Sculpture, May 2009, p. 18.
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showing because the background in the painting pops out the figures in a way that the current setting
in the Water Garden doesn't.
1. Henri Matisse painted two versions of Dance. Johnson’s sculpture is based on Dance (I), which can
be seen at the Museum of Modern Art in New York City—it was painted as a study for Dance (II).
Originally commissioned in 1909 – 1910 by Sergei Shchukin, a Russian merchant, Dance (II) is one
component of a pair of decorative panels entitled, Dance and Music. The work can be seen at the
Hermitage Museum in St. Petersburg, Russia.
A monumental image of joy and energy, Dance is also strikingly daring. The final version of the
scene, Dance (II), was shown in Paris in 1910. Nearly identical in composition to this work, its
simplifications of the human body were attacked as inept or willfully crude. Also noted was the
work's radical visual flatness: the elimination of perspective and foreshortening that makes nearer and
farther figures the same size, and the sky a plane of blue. This is true, as well, of the first version.
In the paintings, the figure at the left moves purposefully; the strength of her body is emphasized by
the sweeping unbroken contour from her rear foot up to her breast. The other dancers seem so light
they nearly float. The woman at the far right is barely sketched in, her foot dissolving in runny paint
as she reels backward. The arm of the dancer to her left literally stretches as it reaches toward the
leader's hand, where momentum has broken the circle. The dancers' speed is barely contained by the
edges of the canvas.
Dance (II) is more intense in color than this first version, and the dancers' bodies—there deep red—
are more sinewy and energetic. In whatever canvas they appear, these are no ordinary dancers, but
mythical creatures in a timeless landscape. Dance, Matisse once said, meant "life and rhythm."1
Looking at this painting one can recall the story of Pygmalion. Pygmalion is a legendary figure found
in Ovid's Metamorphoses. Pygmalion, a Cypriot sculptor, falls in love with an ivory statue he has
made. Some versions state that it was an image of Aphrodite. According to Ovid, after seeing the
Propoetides prostituting themselves, he is 'not interested in women', but his statue is so realistic that
he falls in love with it. He offers the statue presents and eventually prays to Aphrodite. She takes pity
on him and brings the statue to life. They marry and have a son, Paphos.
Ovid's mention of Paphos suggests he was drawing on the brief account of Pygmalion and Galatea in
Bibliotheke, a Hellenic mythography formerly attributed to Apollodorus. Pygmalion is the Greek
version of the Phoenician royal name Pumayyaton: see Pygmalion of Tyre. Galatea figures in the
founding legend of Paphos in Cyprus.
The story has parallels in the example of Daedalus, who uses quicksilver to install a voice in his
statues; and of Hephaestus who creates automata for his workshop, Talos, an artificial man of bronze,
and, according to Hesiod, Pandora— from clay, at the behest of Zeus.
1. The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised
2004, originally published 1999, p. 65
Johnson, J. Seward - Eye of the Beholder

1997, cast bronze; after Manet's At Pere Lathuille's, 1879. See Part 2 for more information.
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Johnson, J. Seward - King Lear

1982 An example of Johnson’s non-impressionist work, Lear is reflecting his anguish over the
treatment he received from Goneral and Reagan and his rejection of Cordelia. Lear's anguish also
reflects a difficult period in Johnson's life at this time.
Johnson, J. Seward - Summer Thinking
Summer Thinking belongs to an earlier series created by Johnson in the 1990’s depicting one or
more figures participating in a public landscape. Johnson’s incredible attention to detail and
commitment to realism disarm viewers, inviting them to participate in the intimate space of the
figure. The young girl portrayed in Summer Thinking lies on her stomach, propped on her
elbows. Her focus shifts from the notebook before her and consequently prompts viewers to
follow her gaze and to project their own narrative upon the figure.
Ketchman, Niki - Siren

A statement by Niki Ketchman from an exhibition: In my recent work, although it continues to
be abstract, I have created decorative and delicately feminine as the wire in my past work looked
hair-like. My most recent work, included in this exhibition, goes one step further by actually
using hair as the primary medium. Using hair as a medium implies using ones own body (or part
of it) to make art. It refers also to the artifice of hair styles especially since the hair I've used is
synthetic hair. In several of the pieces I've continued to create decorative and delicate surfaces by
weaving the hair and combining it with other materials. The resulting pieces refer to objects other
than hair. For instance, the humorous piece "Bee Hive" refers to both the hairdo of the same name
and a hive or Cajon. The collages are more general. They are created intuitively and are a
thinking process that sometimes results in sculptures and sometimes derives from them. The
dome shaped outdoor piece titled "Cassopeia" has a surface of black PVC, metal trees around the
bottom and metal stars near the top. It is like hair formed into a bun, the dome of a building and
also a landscape.” From http://www.pmwgalleryplus.com/NIKI_KETCHMAN.php.
King, William - Maus, Maybe, and Snack (3 works)

"Maus," "Maybe" and "Snack," 1993, stainless steel, 84" x 36" x 20", 96" x 44" x 24", and 84" x
42" x 22" The three figures are executed in thin metal sheets, stand along the walkway to the
Museum Building, appear to be absorbed in conversation, posed and gesturing as if discussing the
works on view at an opening. The light weight of the medium allows the figures to move when
breezes pass by, animating the characters even more.
King is known for his simplified figurative cutouts in metal or wood carvings, which are often
presented with a warm and subtle touch of humor. As part of Grounds For Sculpture's Public
Sculpture Placement Program, King's large-scale, aluminum Unitas is installed near the Hamilton
Rail Station.
Knapp, Stephan - Temple Talisman

1991, glass and steel See http://www.stephenknapp.com/.
Knapp created the upright shield-like form from kiln-formed glass, a process in which a sheet of
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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.
Lash, Jon - Frame Construction #5

painted aluminum, 1994 - David Smith, Bruce Beasley and many other have similar sculptures.
"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. "All Art is a kind of religious experience, most often rooted in nature".
Lehman, Wendy - Boxwood

Removed 1989, painted Hexel aluminum, 84” x 67” x 67” Artists often have the experience of
creating work that springs forth from their unconscious and takes shape quickly, only later to be fully
understood. Such was the case with Boxwood by Wendy Lehman. When this sculpture “poured” out
of the artist, she subsequently realized that it was based upon “the cement sidewalk where a tree
works its way out against all odds and blooms.” Lehman’s work is recognizable for its bright and
graphic coloration, and this sculpture is no exception. (like Red Grooms, only more abstract) Looking
at it, we see the abstract sidewalk at its base, alternating in striped patterns to form a pyramid-like
structure, culminating in the boxwood that is bursting out from the sidewalk’s captivity. We can relate
to the humanity of this experience, as the tree strains against the confinements of human society and
follows its own path. For Lehman, it relates specifically to her daughter’s struggle in dealing with a
learning disability.
See http://abstract-art.com/index.shtml.
Liberman, Alexander - Entwined

stainless steel, diagonal slices of tubes Liberman usually has very large and colorful sculptures. Many
are bright red, like the one Along-the-Way.
Loper, Sharon - Interior #5: Isolation

Eyes carefully crafted, contrast Lear's deep-set holes.
Maron, Jeffrey - Padma's Dream

2001, etched copper alloy with polychromed oxides, 35" x 95" x 2" As with many of the works in this
artist’s oeuvre, 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
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Yoga.
Padma is also a system for transforming Indic text between public and proprietary formats. The
Padma Vibhushan, India's second-highest civilian honour it consists of a medal and a citation, is
awarded by the president of India, and forms a part of the Padma Awards, which 'are given for
exceptional and distinguished service in any field'.
Padma's Dream is made of etched copper alloy plates, with the delicate surface colors achieved
through the application of crystalline oxides. Both the degree to which the metal is heated and the
selection of oxides or salts determine the colors. Increasing the number of oxide applications can
create opacity and deepen coloration. Maron has spent many years perfecting this technique.
Maron has a work, Moontide, on view at Grounds For Healing, an outdoor garden designed in
partnership with Grounds For Sculpture at Robert Wood Johnson University Hospital at Hamilton
to provide a serene, relaxing environment for patients and visitors.
Martini, John - Sienna

2006, polychrome steel, 81" x 35" x 21" Sienna is a characteristic example of Martini’s signature
style. His sculptures are full of whimsy as unique creatures made of rough-edged steel convey a
variety of diverse expressions from awe to melancholy, surprise, anxiety, or mischief. Martini’s
silhouetted figures are made by layering several pieces of steel, brushing on solid enamel colors
of red, orange, yellow, blue, or gray, and then welding and cutting the steel with a torch. The
intense heat scorches the paint, leaving a dark edge where the steel has been exposed. Finally,
bolts are used to fasten the layers together.
The inspiration for Sienna occurred during a trip to Italy. Upon visiting an exhibition of Etruscan
art in an archaeological museum in Sienna, Martini created sketches of the works on exhibit—
drawings that later became a source of inspiration for Sienna. In general, Martini states that when
pressed for the meaning behind a work of art, he prefers to have the viewer make their own
associations—challenging the viewer to interpret the sculpture in relation to their own lives.
Martini notes that “people always have great stories,” and he loves to hear the stories his
sculptures conjure up. See http://www.johnmartini.com
McCarty, John - Bower

Removed.
Mills, Royden - Inside Elevation

2005, steel, H. 126 x W. 78 x D66
As a graduate student, Mills had an assistant internship with Anthony Caro. Perhsps you gan see a
hint of an aesthetic similarity with Caro's nearby work In the early 1990s, Mills and his wife
moved to Japan for two years, a move that afforded him new experiences yet continued his earlier
interests in Buddhism, Taoism, and Eastern philosophy. When he returned to Canada, he began to
assimilate these varied influences into his work, which culminate in pieces such as Inside
Elevation: large architectonic elements combine with organic shapes to create forms and surfaces
that reflect sensitivity to harmony, order, and aesthetics.
"...I believe that sculpture can provide a physical inspiration which may inform the viewer about
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their actual physical existence. Any object may carry a referential charge; it will probably remind us
of something else which has already made an impression on us. But the sculpture which caan
transcend this reference to become itself is something special. It becomes something worth being
with. It becomes a reminder of of ultimate possibilities. I feel that the best art is about human liberty.
Abstract art is a form of liberty which can remind us all of potential, and of possibilities which are
just a little beyond what we have seen so far." Royden Mills - 2009
Christina Ely wrote to Royden about Inside Elevation and received the following response:
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
Hello Christina:
Thank you for your note and the interest in “Inside Elevation”. Here are my thoughts about this
sculpture that you now have. If you have any other questions, comments, or ways that I can help you
to guide your visitors there at Grounds for Sculpture, please don’t hesitate to get in touch.
The Basic Concept:
Inside Elevation and most of the sculptures that I make are created so that people gain an opportunity
to experience their sense of body in a way that allows them to feel especially aware of being
physically present. We assume that we are always present anywhere that we go, however sometimes
our minds are full of thoughts about what we need to do, or memories of what we have done, or
otherwise focused on things that are not actually present, like our own body. Certain moments in our
lives take us towards being terrifically aware of being physically present, and I like sculpture that
allows us to feel such things. One of the common experiences that can allow us to feel present is
when we are want to go through, over or around a barrier, and I believe that if we a forced to change
our mental state from feeling that an object is to be looked at into something that we are going to
enter then we refocus ourselves on our sense of our physical presence.
The Specific:
Inside Elevation is a container, a room, a place that first seems to be just another sculpture born of the
great abstract tradition in sculpture. Hopefully the formal aesthetic concerns that make any art work
compelling have been attended to so that people feel a desire to draw near and move around the piece.
In a world where so many experiences can make us feel excluded or left outside of becoming integral
and included, this sculpture presents a doorway and an interior that might incline folks to want to
enter. If they do I hope that they will find a meditative pleasant place to feel that is open to them to
have an “elevated” sense of contemplation away from the high speed, fast paced, world of virtual
communications, and normal pressures that makes us all feel vulnerable. The doorway is nearly
exactly the size of an average sized human male, but only just that big, and the doorway is a squeeze
to get through even for such a person ( the measurements are taken from myself who I found, was
statistically average sized according to statistics of the 1970’s when I first became adult sized ) There
is a kind of pressure that one feels squeezing into that space that makes the interior seem a little
bigger than one might have expected. There are three places to consider sitting and there is an
opportunity inside to consider purpose and to even possibly engage the sculpture by breathing air into
it to produce a trumpet tone. I hope that there is contemplative reward for a person who is curious,
innovative and willing to engage is a moment of separation from the expectations of any sort of
convention. They are invited to find their own reason and moment of bodily experience inside. As the
novelty of being inside resides, I believe that eventually the sounds and the appeal of what is outside
begins to enter our minds and we become less interested in what we are experiencing there with our
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body on the inside, and therefore more aware and focused on what is outside, and so we squeeze
ourselves back out, and it is possible that sensitive people will experience a heightened sense of
open expansiveness of being outside. The breeze, the brightness, the exposed sense of having a
body may come rushing back over them. Perhaps it is too ambitious of me, but I hoped that
people would feel a greater sense of body and “Elevated sense of being” when they left the
sculpture, even more than when they were “Inside Elevation”.
For Whom do I care:
I believe that all humans seek to sense moments that allow them to feel that they are in charge of
making meaning for themselves. We feel joy when we are discovering things that we could not
predict. For all people who love to find moments where this is possible, I think that artists try to
offer rewards. In my case, I present sculpture where the body sometimes is caused to become
very active in delivering that kind of experience. To my mind this is something that sculpture can
do that no other thing can do so well. I want to reward people who like to sense the world by
being physically present.
Interesting Facts about this sculpture:
It has been shown at the Royal Museum of Alberta in Edmonton Canada, adjacent to Mosconi
Convention Centre at Sculpturesite Gallery in San Francisco, and in Chicago before finding its
permanent home at Grounds for Sculpture.
I have heard may stories of how people have enjoyed their experiences with this sculpture. It
seems that the heightened sense of physical presence often triggers people to feel that their bodies
are sensuous in relationship to the moment and so it seems that a young San Francisco
photographer set himself the task of capturing some aspect of that. He delivered images that he
had taken of an unclothed woman in the sculpture. These photographs have sometimes gotten the
attention of people who wondered what the purpose of the sculpture is exactly. To this I humbly
reply that I hope to inspire people to feel aspects of human liberty for themselves. I hope people
find inspiration. What kind, and how free, that is more about them than me, however, I believe
the world is a better place where people sense that they have more options than they first thought
that they did. I make sculptures to try to inspire people to feel that their physical existence is ripe
with transcendent liberating experiences, maybe even most when they are contained inside of a
physical body such as a sculpture.
The Person:
I am the Grandson of an original Prairie Homesteader, who lived for his first year on his farm
exposed and vulnerable to the northern Canadian winter in a sod shack. I spent some difficult
times in hospital sometimes long contained in oxygen tents or other health apparatuses, and aware
of how great it would be to even go outside. I worked with legendary sculptor Anthony Caro a
number of times and was greatly affected by his spirit for sculpture. I lived in Northern Japan and
traveled through Asia, being affected by the aesthetic and sense of purpose to the temples there. I
have taught at the University of Alberta at the University of Alberta in Edmonton Canada over a
period of 20 years amazed at the vitality of the critical thinking here, I have remained in a region
that I love.
Special Thanks:
Grounds For Sculpture, for such a terrific site placement. Sculpturesite Gallery San Francisco,
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The University of Alberta, Edmonton Canada for building such a strong Sculpture Program, and
Anthony Caro for his encouragement and mentoring during the most important moments of my career
and life.
Royden Mills Website:
www.RoydenMills.ca
Mojsilov, Zoran - Cuckoo’s Nest

1998, steel, granite, 125" x 146" x 103" 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. Mojsilov was born in
Yugoslavia.
Joan Schornstaedt: "I was told that the cuckoo is a bird that lays it’s eggs in the nest of another bird
and let’s the other bird hatch and raise the babies. So perhaps the rocks (eggs??) in the nest don’t
match the bird on top."
Morante, G. Frederick - Relative

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. NOTE THAT THE HORIZONTAL AND vertical DIMENSIONS ARE THE SAME so
the sculpture fits in a square frame. A horizontal line from head to head divides the square in the
golden ratio, recalling a famous drawing by Leonardo da Vinci, Vitruvian Man. (The Vitruvian Man is
a world renowned drawing with accompanying notes created by Leonardo da Vinci around the year
1492 as recorded in one of his journals. It depicts a nude male figure in two superimposed positions
with his arms and legs apart and simultaneously inscribed in a circle and square. The drawing and text
are sometimes called the Canon of Proportions or, less often, Proportions of Man. It is on display in
the Gallerie dell' Accademia in Venice, Italy.)
Murrey, Robert - Hillary

1993, aluminum Murry’s daughter’s name is Hillary. The sculpture is influenced by the scenery he
sees flying over rolling hills to his house. One of his signatures is brightly colored aluminum shapes.
Note how the walkway reflects the undulating shape of the sculpture. His techniques recall his
shipyard experience and the aesthetics of the Reductionist School.
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Musick, Pat - Groupo

2002-03, stone, steel, wood; 17" x 60" x 40" “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.”
This statement by Pat Musick, although dated 2000, still holds true today in relation to Groupo,
her stone and steel piece created in 2002-03. Evident upon observing the large stones is their
smooth finish and egg-like forms caused by years of erosion. Contrasting with the natural
materials are the encircling bands of steel that appear to serve as both restraints and focal points
to emphasize the stone’s rounded forms. The six elements are gathered into a group that emits a
quiet stillness. Following a lifelong dream and in keeping with her love of the natural beauty of
the area in which she resides as well as her devotion to sculpture, Musick and her husband,
former astronaut Jerry Carr, established the Ozarks Woodland Sculpture Garden in 2000 in
Madison County, Arkansas.
Namingha, Dan - Symbolism I

1997 bronze edition of 6, 51" x 31" x 17 3/4"
"I am mashing a lot of things together: formal concepts of modern art and composition
combined with personal ideas and thoughts; and glimpses of the symbolism associated
with my culture. Amoung other objectives, I hope to convey an appreciation of beauty,
a reverence for the natural world and a respect for Native cultures and sensibilities." -
Dan Namingha, 2009 in the GFS Spring/Summer Exhibition catalog.
Namingha's early work bears the influence of his Hopi background but he later began to compose
his sculptural forms into cubist shapes. Although Kachina figures and their faces dominate his
symbolism, he minimized that imagery, concentrating instead on balancing solid forms. Content
and subject matter have become subordinate to his dominant interest in structure which gives the
sculpture its distinctive character. But content and subject matter are never abandoned; he uses his
early more traditional work as a foundation for his modernist sensibilities. Namingha says about
Symbolism I, “As I progress, I always look back, in this instance to twenty-eight years before. I
take elements I favor from every period of my work and incorporate them into something
different – totally or at random.”
(Kachina figures are uniquely Hopi artworks are called "dolls," but that is a bit of a misnomer.
Kachinas (or katsinas) are actually stylized religious icons, meticulously carved from cottonwood
root and painted to represent figures from Hopi mythology. For generations, these figures have
been used to teach children about their religion.)
The term also refers to the kachina dancers, masked members of the tribe who impersonate
kachinas in religious ceremonies, and kachina dolls, wooden dolls representing kachinas which
are given as gifts to children.
A kachina can represent anything from a revered ancestor, to an element, a location, a quality, a
natural phenomenon, or a concept. There are more than 400 different kachinas in Hopi and
Pueblo culture. The local pantheon of kachinas varies in each pueblo community; there may be
kachinas for the sun, stars, thunderstorms, wind, corn, insects, and many other concepts.
Kachinas are understood as having humanlike relationships; they may have uncles, sisters, and
grandmothers, and may marry and have children. Although not worshipped, each is viewed as a
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powerful being who, if given veneration and respect, can use their particular power for human good,
bringing rainfall, healing, fertility, or protection, for example.
Oros, Mary - Henry Takes His First Steps

2005, cast aluminum, painted; 1/3, 45" x 23" x 12" In the sculpture, “Henry” appears as an awkward,
vulnerable creature. A rounded, headless torso sits atop several thin and spindly legs. The form of this
sculpture was inspired by a postcard of an antique hair comb, and its content by the artist’s choice not
to have children. Oros says her work, “is motivated by an understanding that primal and intuitive
knowing inevitably hold greater meaning than the dictates of society and culture.” Her inspirations
come from observations of the physical world. Oros begins with a visual concept and starts her
process by creating a wax model, or by drawing. Color, texture, and proportion play an important role
for the artist, and she is interested in the way in which they can alter appearance. See:
http://www.maryoros.com.
During the Spring/Summer 2004 Exhibition season, Grounds For Sculpture presented Off the Rim:
Selections from the Pacific Rim Sculptors Group. The original plaster and concrete version of
sculpture Henry Takes His First Steps by Mary Oros was included. A painted aluminum cast has been
created for installation outdoors in the sculpture park.
Pepper, Beverly* - Paolo E Francesca

1999 Why the downward pointing arrow? What does the name mean? It would be hard to guess the
name of this sculpture - but if you know the sad story of Paolo and Francesca, you can feel the
emotion reflected in the sculpture. Paolo and Francesca were two lovers but Francesca was married to
Paula's brother. See the Appendix for the complete story. This is a good example of an abstract
sculpture associated with a narrative identified by the title.
See http://www.beverlypepper.org.
Pepper, Beverly - Untitled

Untitled, c. 1968, stainless steel, enamel paint, 17 1/2" x 30 1/2" x 8" 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 the later earthworks in which
the sculpture is physically connected to the site.
Peterson, Karen - The Listener

1997, cast bronze, 59” x 42” x 40” Note large rounded space filling shapes like in Gossip. Karen
Petersen’s sculptures seem to transcend time. An influence of ancient art combined with a sleek
modernist approach to form results in work that conveys a stylized yet natural beauty. The rounded
female form kneels and holds a little bird to her ear, listening intently to its message. It is an alluring
example of this artist’s ability to create sculptures that seem to unite with the soul of nature. About
her work it has been written, "a Petersen sculpture strives to be powerful, sensuous, larger than life, a
conformation of depths."
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Pettigrew, Martha - Gossip

2002, cast bronze, 96” x 73” x 95” Smug attitude, not really relating to each other, what does that
make you think of? Where do you think the women are from? Is it important to know the answer?
Pettigrew lives in Mexico. What do you think they are talking about? Is it significant to the
narrative you create that one woman has her hands folded? Is the wall between them significant?
Gossip by Martha Pettigrew is a sand-cast bronze with traditional patina, enlarged from a smaller
study that was 10 inches high. This sculpture of two robust women paused in a moment of
exchange before they continue with their everyday tasks, leaves the viewer to wonder what tidbit
of information these stoic women have shared. Pettigrew’s work has been described as stylized
with emphasis on simplicity. Martha Pettigrew states, “If I have achieved my goal as a sculptor
the viewer will feel an emotional attachment and sense the pride, dignity and serenity of my
subjects.”
In her equine and wildlife sculpture, one can see the influence of twelve years spent breeding,
training, and racing thoroughbred horses. Returning to the fine arts in 1991, she has drawn
inspiration and knowledge from the study of works by Henry Moore, Isamu Noguchi, Constantin
Brancusi, and the Greek sculptors of the Archaic period.
Rogers, Andrew - Leading

1997 Leading is a combination of corkscrew and an almost Mobius like strip.
Ruppert, John - Pumpkins

1999, cast aluminum, 5 elements, each 29" x 43" x 42" Pumpkins, a set of five identical forms
cast in aluminum, was made at the Johnson Atelier Technical Institute of Sculpture from a mold
taken of a gargantuan pumpkin that weighed an amazing 700 pounds. Placed on view in the
orchard under the crabapple trees, Pumpkins appears startlingly life-like, yet eerie. The surfaces
glow as light reflects off of the silvery-gray metal. Excess metal that has seeped into narrow
seams of the mold, evidence of flashing, has been purposely left visible, calling forth the presence
of the artist and the events which can occur in the casting process. The original gourd was
genetically engineered to achieve monumental proportions in a regular growing season. Each
bulging form clearly indicates the strain to grow larger still, the process hindered by the
accumulating weight and dimensions. By exhibiting multiple replications of the giant pumpkin,
the artist plays with the concept of scientific intervention in the natural patterns of biological
growth, commenting on man’s ongoing manipulation of natural life forces.
Sablonsky, Jill - Awakening

1997, limestone, slate, red sandstone, red marble, green marble, 93” x 133” x 64”. Stacked
upright elements are set on horizontal slabs lying at ground level, composing a self-contained
structure evocative of landscape. In an artist statement in regards to her work A Course in Change
commissioned for the Texas Federal Building in San Antonio, Texas, Sablonsky describes her
body of work as a means of creating “a sense of harmony and well-being for myself as well as the
world."She continues,"This is a daily challenge. Each of us experiences turmoil. My response to
the chaotic planetary and human conditions is to make art that conveys the essence of stability
and resolution. Finding resolution in a sculpture, as in one’s life, is certainly the ongoing
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challenge. My sculptures have evolved to become places to be experienced. Art has the capacity to
ease, heal and promote spiritual growth. This is my intention.” These sentiments and ideas inform the
creation of Awakening.
Smith, Kiki - Untitled

2006, cast bronze, 44” x 28” x 28”. Chuck Close on Smith: “(her) 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.” 1
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.
The subject in this sculpture has a distinguished pedigree from Picasso to Rembrandt. As
Picasso aged, his furious will to affront did not abate any more than did his interest in sex as a source
of artistic ideas. Six decades after Demoiselles d'Avignon comes a large, wackily expressionistic
painting called Woman Pissing (1965), which is based on a lovely small etching by Rembrandt, titled
Pissing Woman. depicting a woman in full skirts squatting and urinating. The contrast here between
Rembrandt's tender humanity and Picasso's gross primitivism is striking. The impulse behind the
latter seems more social--or antisocial--than erotic: to create an aggressive, crazily comical insult to
middle-class decorum. Kiki Smith's sculpture has the sentiment of Rembrandt's etching.
As a young girl, one of Smith’s first experiences with art was helping her father make cardboard
models for his geometric sculptures. This training in formalist systems, combined with her upbringing
in the Catholic Church, would later resurface in Smith’s evocative sculptures, drawings, and prints.
Born in Nuremberg, West Germany in 1954, Smith is the daughter of American sculptor Tony Smith.
Growing up in New Jersey with her twin sisters, Smith was introduced to art at a young age—as a
child she would help her father fashion small cardboard models for his geometric sculptures. Smith’s
early exposure to art, her relationship with her family, as well as her spiritual and mythological
interpretation of Catholicism all had an impact on her art. In 1976, Smith moved to New York City
and in the 1980’s, after the death of her father, began creating works based on the human body. Her
interest in spirituality, storytelling, and “an unquenchable obsession with the vulnerability of the
human body”2 pushed Smith to create a varied body of work including prints, drawings, sculptures,
and installations.
The recurrent subject matter in Smith’s work has been the body as a receptacle for knowledge, belief,
and storytelling. In the 1980s, Smith literally turned the figurative tradition in sculpture inside out,
creating objects and drawings based on organs, cellular forms, and the human nervous system. This
body of work evolved to incorporate animals, domestic objects, and narrative tropes from classical
mythology and folk tales. Life, death, and resurrection are thematic signposts in many of Smith’s
installations and sculptures.
See http://www.kikismithsquattingthepalace.com/trailer.htm for the trailer to the 2006 film Squatting
the Place which show Ms. Smith in her studio preparing for a show in Italy. The film by by Vivien
Bittencourt and Vincent Katz takes a circular approach to an artist who works in overlapping spirals
of creative energy. Smith works in her home — not in a space specifically designed as a studio but on
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the 2nd floor of her East Village townhouse. There, amid her books, a pet bird, and tiny
kitchenette, Smith goes from drawing to collaging to modeling clay to painting plaster casts and
back, again and again, moving from one discipline to another in a way that can seem aimless to a
casual observer, but which is actually the modus operandi of a highly sophisticated visual artist.
A 1994 interview with Chuck Close is at http://www.bombsite.com/issues/49/articles/1805.
1. Chuck Close, Time 100: The People Who Shape Our World, Kiki Smith, Time, 8 May 2006,
http://www.time.com/time/magazine/article/0,9171,1187302,00.html, 14 July 2006.
2. Peter Plagens, “Mortality, Morbidity and More,” Newsweek, 31 July 2006, 54.
Sternal, Tony - Vertical Form 92.8 and Vertical Form 92.10 (two works)
Pennsylvania granite and Vermont marble, 14' x 2.5' x 2'. The sculptures are on the right and left
sides respectively as you enter the courtyard canopy.
Tatarovitch, Katrina - Mirage

cast iron split body - bald head and tortured pieces in an ambiguous sensual pose or vulnerable
pose.
Wertheim, Gary - The Family

1995, cast bronze, 1/5, 63" x 39" x 24" Note the rounded shapes and the explicit narrative
determined by the title. In Gary Wertheim's, "The Family," he portrays a mother, a father, and a
child. The mother and father merge into one another -- a single parent, embracing their child.
Wertheim represents the mother with traditional values. She is the center of the piece, with a
round figure. Her hips are the widest part of her body which suggests a certain predisposition for
child bearing. Father, being the protector and provider of the family, has his arms surrounding
both mother and child. Each figure flows into one, suggesting wholeness and solidity as would
the perfect family. His figures are of simple form and together they form a natural harmony. Note
how one arm from each parent encircle the child and the exaggerated female form.
Woytuk, Peter - Bull (#4 & 5) (two works)

Animals as subject matter create opportunities for Peter Woytuk to delve into elements of form,
color, and texture as well as character. Animals such as bulls draw his attention with their “sprawl
of mass” that he enhances by making them even more broad and colossal. Bull (#4) and Bull (#5)
command their space with their complicit spreading girth and calm, stately presence. Without a
strong focus on detail, an essential quality is captured is the form. A relationship between the
animals as well as the environment – the space surrounding the sculptures – becomes important.
Woytuk considers the grouping 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.
See http://www.woytuk.com/.
Wright, Autin - Free Form II

Free Form III, 1998, white Danby marble, 78" x 50" x 47" Note the simple, sensual, even organic
shapes. In a way it is similar to Neri's piece across from it but much less figurative. The
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inspiration came from the leaves of a Tulip. Free Form III Piece started as doodles on paper. It began
as a sculpture of a tulip plant. The flower should come up through the hole in the center. However
when he had completed the leaves, he decided that it looked good just like that so he left it. He titled
it “Free Form” so we are not limited in what we see.
Wright, Autin - Kordell

1998, white Danby marble Kordell is named after Wright's godson.
Wright, Autin - The Sleep

1996, cast aluminum, 31" x 98" x 6", Autin has 3 other sculptures in the park. 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 start to relax, as the eye
slowly shuts. Quintessential to his work, his forms are smooth and pure, and his surfaces are simple.
In "The Sleep," his transitions are subtle and natural. "I'm inspired by subtle patterns of nature." There
are two levels that can be extracted from this piece, the literal definition of sleep, and the symbolic
connotation of death. The dark surface of the piece helps promote both these imageries. He made this
because your eyes and your mouth tell your feelings. Each element in each panel is different (mouth,
eyes, abstract shape where right eye should be, squares in panel)
Autin Wright was born and educated in Jamaica. After completing a degree at Connecticut Institute of
Art, Wright moved to Trenton where he now holds a position on the Johnson Atelier Technical
Institute of Sculpture staff.
Yang, Yuyu - Lunar Brilliance

Stainless steel. Same material as Dragon's Shrill. The shrubbery protects Lunar Brilliance from
peacocks looking at themselves and pecking the sculpture.
Yang, Yuyu, Dragon's Shrill in the Cosmic Void

1991, stainless steel, marble and water fall, 81 1/2" x 81 1/2" x 46" Same material as Brilliance. The
sculpture consists of a Mobius (after August Mobius) shaped centerpiece which changes dramatically
as you walk around the sculpture (i.e. note the keyhole view). The one sided Mobius shape and the
reflective surface contributes to the feeling of integration with the environment, indeed, the title
reflects an integration and yearning for harmony with the universe. To link his pieces more closely to
their audience and their surroundings, Yang worked with stainless steel creating mirror-like surfaces
that reflect their environment. Yang viewed each of his sculptures as an event -- an interaction
between piece and audience.
Yang: 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.1
Yuyu passed away a few years ago. He was a prominent sculptor in Taiwan. He incorporates in his art
symbols of the dragon and the phoenix, the earth and the sky, and other thematic pairs prominent in
Chinese philosophy.
The dragon also recalls the ancient ouroboros, a snake eating its tail, a symbol of rejuvenation and
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according to Plato the origination of the world.

Timaeus speaking to Socrates "...The living being had no need of eyes when there
was nothing remaining outside him to be seen; nor of ears when there was nothing to
be heard; and there was no surrounding atmosphere to be breathed; nor would there
have been any use of organs by the help of which he might receive his food or get rid
of what he had already digested, since there was nothing which went from him or
came into him: for there was nothing beside him. Of design he was created thus, his
own waste providing his own food, and all that he did or suffered taking place in and
by himself. For the Creator conceived that a being which was self-sufficient would
be far more excellent than one which lacked anything; and, as he had no need to take
anything or defend himself against any one, the Creator did not think it necessary to
bestow upon him hands: nor had he any need of feet, nor of the whole apparatus of
walking; but the movement suited to his spherical form was assigned to him, being
of all the seven that which is most appropriate to mind and intelligence; and he was
made to move in the same manner and on the same spot, within his own limits
revolving in a circle. All the other six motions were taken away from him, and he
was made not to partake of their deviations. And as this circular movement required
no feet, the universe was created without legs and without feet. ..."
See Docent Notes, Part II for ouroboros.

Yang, like several of the artists represented in the park, has his own sculpture garden. He used
these symbols to display the dualities and interactions of opposites in nature. The Monkey King
by Jun is named after another Chinese myth.
1. Pepper, Beasley, Bullock, etc. have stainless steel works at GFS that have this quality.
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Pegasus/Warming Hut/Monkey KingPegasus/Warming Hut/Monkey King
Pegasus/Warming Hut/Monkey King

Abakanowicz, Magdalena - Hand-Like Tree: Cecyna
Removed. Cast bronze, 12’ 1994 (148 7/8" 64 1/2" x 42 1/8") The hollow form, as the title suggests,
resembles both a decaying, textured tree trunk with branches long removed and a gesturing, gnarled
hand drawn up into a fist. "Hand-Like Tree: Cecyna" relates to other works by Abakanowicz in its
simplicity of form redolent with the power of suggestion and emotional impact. As with all of her
works in bronze, it is an unique work of art and not part of an edition. In Polish, Cecyna Ręka jak
drzewo/Hand-Like Tree. There is a page biography at
http://www.wirtzgallery.com/exhibitions/2004/2004_10/abakanowicz/abakanowicz_bio.pdf.
Abakanowitz uses cecyna in other titles, for example in her gift to MOMA, Cecyna Flower. 1999.
Chinese ink and charcoal, 39 3/8 x 29 5/8" (100 x 75.2 cm) in honor of Agnes Gund.
Aranovich, Claudia – Rupture

2001, welded steel, fiberglass Claudia Aranovich transcends confining attributes by creating a body of
work that is surprisingly diverse and beautifully universal: transparent resins acquiring organic, fertile
shapes, aluminum masks apparently cast from dead people, small resin friezes hosting glimpses of
Muybridge’s archetypal men, landscapes of Hebrew letters, cones of cement, iron rhomboids, giant
vulvas that remind us of carnivorous plants, massive installations, and urban art made with fragments
of nature. Exploring this world demands a form of archaeology from us, as we dig layer after layer,
disentangle erased writings emerging behind new, perplexing ones, and follow marks, hints, and
misleading passageways.
If there is a melancholic spirit pervading Aranovich’s works, it is because her “sea of memories” (as
one could call her production as a whole) confronts us not only with past generations but,
astonishingly, with our own biological lineage all the way back to our first unicellular ancestors. In
Aranovich’s sculptures, history becomes biology, and our own biography becomes the testimony of a
perpetual survivor struggling between the impermanent and the eternal. As she says "History begins
with generations passing on knowledge, it begins with the possibility of recording the past, of
handing down a memory of our crossing through the world."
One of the leading names among Argentina’s new generation of sculptors, Aranovich never fails to
elicit from us a sense of puzzlement and recognition. Her almost promiscuous relationship with forms
and textures, her whimsical sensibility, and heightened poetic perception have produced an unusual
“environment” where we are bound to find, in the crevices of matter, the concealed secrets of nature.
From an interview with Pablo Baler at
http://www.sculpture.org/documents/scmag01/may01/aran/aran.shtml.
Benshalom, Itzik* - First Love

"Because my work is my passion, I'm involved with my art every step along the way in
casting. I have a passion for life and for what makes the world go round: relationships,
man and woman, family; this is what my work is about, my work flows, as life flows." -
Itzik Benshalom
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2005, cast brozen,1/9, 180" x 75" x 42" Love, anger, and understanding are basic emotions of
human interaction that are of interest to Itzik Benshalom. Benshalom's sculptures seek to redefine
communication and the human experience. The interlocking soft yet angular forms of
Benshalom's abstracted figures convey a sense of connectedness. This sense of closeness is
strongly expressed in BenshalomÍs 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.
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.
See: http://www.itzikbenshalom.com/artist.html
Cairns, Christopher - Black Madonna

She reigns in her dark and brooding world. - Christopher Cairns
1984, cast brozen, 3/7, 92" x 19" x 16", Gift of Joan L. Tobias, in memory of Isaac Witkin.
Intoxicatingly beautiful and possessing a deep and complex psyche, Christopher Cairns’ Black
Madonna indeed reigns powerful. Emerging from a group of large figurative bronzes created in
the 1980s, Black Madonna (1984) shares similar characteristics to Mary Lydia (1983), another
work by Cairns on view outdoors at Grounds For Sculpture. Like Mary Lydia, Black Madonna
possesses a sense of silent, meditative mystery. His figurative bronzes are often the vehicles for
his emphatic thoughts on the human condition (death, love, and suffering) and his admiration for
the female form. Black Madonna’s deep psychic presence is reinforced by a strong sculptural
aesthetic, as Cairns puts a Cubist twist on traditional classicism, rendering the figure in flat planes
with an interplay of convex and concave forms. To even further understand the depth of meaning
behind the sculpted solids and voids, one needs only to consider the title given to this work.
See http://www.christophercairns.com/
Colavita, James - Bell

larry bellBell, 1998, cast bronze, wood, 1/2, 144” x 68” x 10”. A large work by James Colavita
(1949-1996) was cast posthumously in bronze at the Johnson Atelier Technical Institute of
Sculpture from an original, multi-sectional bell dating from 1994. The individual parts are joined
by lengths of metal chain and suspended, alternating open discs and crosspieces, the bottom unit
shaped like a bell. Created as a long-lasting tribute to this artist, Bell invites the viewer to ring the
bronze work in honor of Colavita’s memory.
James J. Colavita died of kidney failure in 1996 at 47. Mr. Colavita was a ceramic sculptor and a
major figure on the Mercer County art scene.
He was born in Trenton, and his biography reveals that he seldom exhibited his work outside
central New Jersey, but he exhibited frequently. five institutions: the New Jersey State Museum,
the Trenton City Museum, the Rider University Gallery, the Gallery at Mercer County
Community College and Artworks, the Visual Arts School of Princeton and Trenton. have
collected his work.
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The breadth of Mr. Colavita's output and his relentless exploration of some difficult themes ultimately
make it clear that Mr. Colavita was an original artist who was taking his difficult medium in several
fertile directions. Ceramic sculpture is not a commonplace discipline. The medium is still suspect in
the realm of fine arts because of its essential association with crafts. Mr. Colavita certainly
surmounted that bias.
Mr. Colavita was what is often called an additive sculptor, meaning that he put parts together. In the
last few years of his life, he was going back to a time when art wasn't set off from life. He made
reliquaries and altars, in which clay is painted as it was in the ancient Mediterranean world. Mr.
Colavita was also adept at using smoke to blacken a surface selectively.
Colavita was attracted to the big, universal themes, and he is often characterized in the written
material as being a poet of darkness. He may have been intensely pessimistic earlier in his career, but
sparkle and wit show in these late pieces, some of which are on the eternal difficulties in the
relationship of man and woman. In ''Love Separated'' (1994), the male and female figures are
separated or connected by an distressingly long wood ladder.
The major work at the State Museum is ''The Gathering'' (1994): a flock of life-size ceramic chickens,
some of them glazed, milling around a tall column, on top of which a naked woman sits cross-legged.
She is holding a chicken, and a small flaming heart is at her feet. Although the work can't be decoded
completely, it obviously is a love letter to one of the mainstays of his farm. (from February 15, 1998,
NYT ART REVIEW: Putting Together Pieces of a Career Cut Short By WILLIAM ZIMMER.)
Cooke, John and Goode, Daniel - Seat of Sound

2000, locust wood, aluminum, brass, iron A collaboration between Daniel Goode, a musician and
composer, and Robert Cooke, a sculptor specializing in cast metal. Seat of Sound is designed in an
“open arm style” (like the letter V) to subliminally invite the visitor to “come on in” and play. The
original white oak and teak construction rotted and had to be redone with locust, a longer lasting
wood.
Danziger, Joan - October Gathering

Danziger's recent series of sculptures, referred to as "Mythic Landscapes," evokes mysterious and
poetic worlds. They are imaginative inventions that draw upon her fascination with dream imagery
and metamorphosis.
As in October Gathering, Danziger's quiet forest settings are inhabited by unusual combinations of
animals and people. The way in which she juxtaposes the forms and her dynamic use of scale adds to
the impact of these magical and narrative landscapes. The artist has stated that this interplay between
spirit and human form has influenced her work for many years. The original mixed media October
Gathering was cast in bronze at the Johnson Atelier.
The are many myths that may apply to interpreting the sculpture. For example, the Egyptian religion
held that what we call the spirit or soul consisted of three distinct parts: the ka, the ba, and the akh.
Egyptologists characterize the ka (represented by two upraised arms) as the individual's "vital force"
or "spiritual twin." When a person was born, the god Khnum created his or her ka, modeling both
body and spirit on his potter's wheel. Kings could have several kas; mere mortals had only one.
During life the ka remained separate from the body. At death a person was said to have "gone to his
[or her] ka." This was the Egyptian way of saying that the ka had merged with the deceased's lifeless
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form.
To survive, the ka needed a body for its eternal home. The Egyptians believed that the ka dwelt
within either the mummy or the tomb statue (sometimes called the ka-statue), a spare body
needed if the corpse should be destroyed.
The Egyptians called the second element of the soul the ba (or "animation"). The ba was often
depicted as a bird. It was the part of the spirit that was free to leave the tomb and travel about the
earth during the day. The ba was obliged, however, to return to the tomb during the perilous hours
of darkness. Artisans had several ways of showing the ba, sometimes as a bird, but most often as
a human-headed bird. The ba came into being only when the ka and the dead body were united;
without the ka and a mummy or ka-statue, the ba could not exist. See
http://www.carnegiemnh.org/exhibits/egypt/spirit.htm
Joan Schornstaedt: "One of my group members recently noticed that although the piece is titled
“October” and the tree is bare of leaves as we would think of October in NJ, the animals in the
piece are not from NJ. They are from Africa and in October it is summer in Africa. The tree
would not be leafless then. Another bit of dream imagery?"
Dusenbery, Walter - Haystack

1977, Italian tufo, 78" x 55" x 55"
Dusenbery, Walter - Tempio Bretton

1981, Peruvian yellow travertine, 120" x 40" x 40." Tempio Bretton pays homage to the
celebrated Capability Brown, a well-known English garden designer. It was made specially 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.
They 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 of where architecture and
sculpture merge.
Ginnever, Charles - Scorpio

In mythology Scorpio is often associated with Hades, Lord of the Underworld, who was known in
Roman mythology as Pluto, and Orpheus from the Greek myth of Orpheus and Eurydice. Scorpio
is also associated with the Greco-Roman gods Ares/Mars. The constellation is also associated
with the scorpion that killed Orion.
Scorpio is also an astrological sign, which originated from the constellation Scorpius, and is the
eighth sign of the Zodiac; its element is water and its quality is fixed. Traditionally in astrology
Scorpio is ruled by the planet Mars, and in modern times also by Pluto. Some modern astrologers
consider Pluto to be a more appropriate ruler over the sign, citing the reason for Mars having
initially ruled the sign being that Pluto had not yet been discovered. The opposite sign to Scorpio
is Taurus. Under the tropical zodiac, Scorpio is typically occupied by the Sun from October 24 to
November 22, and under the sidereal zodiac, it is currently from November 16 through December
15. Scorpio rules over the astrological house number 8. See
http://en.wikipedia.org/wiki/Scorpio_(astrology)
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Scorpius resembles, quite noticeably, a scorpion's tail, and a vague body. According to Greek
mythology, it corresponds to the scorpion which was sent by the goddess Hera (or possibly Gaia) to
kill the hunter Orion, the scorpion rising out of the ground to attack. Although the scorpion and Orion
appear together in this myth, the constellation of Orion is almost opposite to Scorpius in the night sky.
It has been suggested that this was a divine precaution to forestall the heavenly continuation of the
feud.
In one version however, Apollo sent the scorpion after Orion, having grown jealous of Artemis'
attentions to Orion. Later, in contrition for killing her friend, Apollo helped Artemis hang Orion's
image in the night sky. However, the scorpion was also placed up there, and every time it appears on
the horizon, Orion starts to sink into the other side of the sky, still running from the attacker.
Scorpius also appears in one version of the story of Phaethon, the mortal son of Helios, the sun.
Phaethon asked to drive the sun-chariot for a day. Phaethon lost control of the chariot. The horses,
already out of control, were scared by the great celestial scorpion with its sting raised to strike, and
the inexperienced boy lost control of the chariot, as the sun wildly went about the sky (this is said to
have formed the constellation Eridanus). Finally, Zeus struck him down with a thunderbolt to stop the
rampage.
The Chinese included these stars in the Azure Dragon, a powerful but benevolent creature whose
rising heralded spring.
In Maori mythology, this constellation can be Maui's magic jawbone (used to fish up the North Island
of New Zealand), the front of Tama-rereti's waka (used to ferry the stars into the sky) or one of the
posts Tane used to hold Ranginui (the sky-father) in the sky. While three posts (Sirius, Matariki/The
Pleiades and Orion) hold up the top half of Ranginui, only a single post (Scorpius) supports the lower
half of his body. It therefore appears bent under the weight.
Ginnever's oeuvre: "Scorpio" from the "Planar" series is composed of two flattened trapezoids
hovering above ground and supported by a centered geometric configuration. Because of the angles
and the welded seams in the metal sections, the visual reading of spacial depth becomes ambiguous
when trying to determine if the trapezoids are really flat or three-dimensional.
His early works from the sixties were of steel scraps sometimes combined with canvas or other non-
traditional materials and painted with patterns in vivid enamel hues. In the following years, Ginnever
pared down his use of color and selection of materials, creating works that were deceptively more
complex in composition. Geometric shapes, triangles or trapezoids, were arranged to form optical
illusions, challenging the viewer's visual perception and sense of space. During the 1960s and 1970s
Ginnever also became an active participant in promoting and exhibiting art in public spaces.
FORM is an agent of the Ginnever Foundation, created to allow selected pieces of art to be made
available to the public for the foundation's endowment.
The name FORM comes from:
Fractal - Benoit Mandelbrot invented a new geometry called Fractal Geometry. Fractal implies both
fractured and fractional. A geometry that focuses on broken, wrinkled and uneven shapes. This
suggests dynamic activity. Ginnever's sculptures play on our tendency to see the whole based upon
the sum of the parts presented to us.
Order - Resides juxtaposed to chaos. Chaos theory, when balanced by order, push and pull themselves
to create complex interdependent irregularities. If we could amass enough information to pinpoint the
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multitude of interlinking causes and effects, we would be able to accurately predict events. The
elusive quality of a Ginnever sculpture is that any order the eye imposes on it is soon challenged.
Random - A chaos phenomena between stability and purely random events. When viewing a
Ginnever sculpture one does not see the same event when viewed from an alternate position.
Movement. - Like clouds in the sky movement is perceived like shadows cast. The geometry
between dimensions predicts infinite spaces thus movement without movement. Ginnever's
sculptures, though physically static, visually are not.
The work of Charles Ginnever exists in a subtly shifting state in the three dimensions of our
world. It welcomes the play of light, the change of vantage point, even the changes in our mood
and frame of mind.
Critically important in appreciating Charles Ginneverís work is the realization that each sculpture
resides in many forms and that by viewing each piece from infinite directions, his vision becomes
apparent-- unfolding in layers as the different perspectives accumulate and cohere. Ginneverís
sculptures are always new, always fresh, always startling.
See http://home.earthlink.net/~mikehamm/form/form.html for information about FORM.
Hatcher, Brower - Fan, Tower, and Wave (three works)

Joan Schornstaedt: "He was trained as an industrial engineer hence the precision in his works. He
specified the rocks and lights under the pieces to separate the pieces visually from the ground and
also to keep the grass from growing into the piece."
Haviland, Sarah - Trio

2001 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.
Haviland: “My sculptures seek a balance between abstract form and human identity, between the
physical body and spiritual presence.”
Heinrich, Richard - Bridge

"Bridge" stands over ten feet tall and was made in 1983 from steel plate, cut and welded into an
angular, geometric composition. When viewing the abstract metal work from one side, three main
sections become apparent. However, when one walks to the opposite side, a more complex
pattern is revealed, as the sections are further divided with smaller rectangles. Segments are
arranged to purposely set up interplay of negative space and intersecting planes. The open area at
the bottom lightens the work and lifts it up off the plane of the ground. The raw surface of this
industrial metal has been allowed to rust forming a uniform, cohesive unit.
Hollósy, Gyuri - Kathy B

1994, cast bronze,72" x 27" x 17" As a sculptor Gyuri Hollósy has been endlessly captivated with
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exploring and developing new approaches to the classical human figure, specifically the female form.
Hollósy’s love and fascination with Medieval armor has influenced him over the years. This influence
has led Hollósy 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, Hollósy’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, positive and negative, spaces. Hollósy’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.”
Kathy B. is a jazz singer and dancer that he was friends with in the 1980’s. She acquired a grant to put
on a show in which various artists make pieces with their vision of her. Gyuri started the sculpture
Kathy B then but didn’t finish it for the show. He completed it later using photos and sketches of
Kathy. In fact he lost touch with Kathy around 1984 and he doesn’t think she knows the piece exists,
let alone it being named for her!
Kathy B. began as a wax model, made up of individual slabs of wax. The model had to be
disassembled and the pieces cast individually. In assembling Kathy B. the pieces are welded together
using a technique that doesn't show the seams to create the impression of gesture and movement.
Hollósy studied with David Hostetler at Ohio University. See http://www.hollosy.com.
Huntington, Jim - Ripper/Body Bone

1993-96, Granite, 71" x 54" x 32" Note the varying textures. Many of Huntington's sculptures
combine steel and stone See http://www.huntingtonsculpture.com. 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.
Johnson, J. Seward - Contact

"It is requested that docents not take people to the piece, as it is meant to be discovered by patrons on
their own. Johnson is interested in evoking a double take by guests passing by. If asked about the
piece, explain that Contact is part of Seward Johnson’s Man on the Street Series which is usually
traveling the county. The Man on the Street Series is bronze life size depictions of everyday activities
– a celebration of the mundane. This piece just happened to find its home on the grounds. They are
escapees from the collection – one day they may be here and the next they may not." - Lynn
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Declemente, Christina Ely

This work is not on the site map.
Johnson, J. Seward - A Thought to Consider

Based on Edouard Manet’s (1832 – 1883) In the Conservatory, 1879: Staatliche Museen
Preussischer Kulturbesitz, Nationalgalerie, a double portrait of M. and Mm Jules Guillemet.
When the painting was shown at the Salon of 1879, Manet asked the State to purchase it, but was
unsuccessful in this request. See Manet's "In the Conservatory" and "Chez le Pere Lathuille,"
Bradley Collins, Art Journal, Vol. 45, No. 1, Manet (Spring, 1985), pp. 59-66 J.
Seward Johnson’s A Thought to Consider reinterprets the 19th century masterpiece with a witty
twist. The oil painting by Manet portrays a young woman and a bearded man against the
backdrop of the lush greenery of a conservatory. During the latter part of his life (1876 – 1882),
Manet had taken to painting scenes of fashionable and contemporary life in Paris—like his
paintings of cafés, the theater, and the railway station, In the Conservatory portrays such a scene.
The woman and man depicted are Madame and Monsieur Guillemet, owners of a Parisian fashion
shop.
Johnson’s clever title, A Thought to Consider, prompts the viewer to consider the relationship
between the couple. Is there a conflict between the couple? Is there tension? Or perhaps the
couple is engaged in separate, contemplative thought? Scholars have suggested the following
about the couple in the painting:
They seem caught in a moment of silent reflection, their attitudes hinting at a situation of some
tension and complexity. The separateness and reserve implied by their postures is furtively denied
by the unconscious convergence of their hands in the [painting’s] center. Everything here suggests
ambiguity or conflict: between nature and fashion, formality and feeling, isolation and intimacy. 1
Johnson effectively captures the essence of the painting and translates it into the three-
dimensional realm—one where the viewer can step into the scene and become part of Madame
and Monsieur Guillemet’s world. See http://www.sewardjohnson.com.
1. Lorenz Etner, An Outline of 19th Century European Painting: From David through Cézanne
(Boulder, CO: Westview Press, 1987), 308.
Johnson, J. Seward - Copyright Violation

Copyright Violation!! depicts a portrait of the artist Claude Monet (1840-1926) as he paints the
sculpture by Johnson entitled If It Were Time, which is in turn based on Monet’s painting entitled
Terrace at Sainte-Adresse. When an edition of If It Were Time was on view at the Corcoran
Gallery of Art during Johnson’s exhibition, Beyond the Frame(September 13, 2003 through
January 5, 2004) it included this portrait of the French artist “violating” Johnson’s copyright.
Through this installation the viewer is playfully confronted by the question of what constitutes an
original work of art.
Johnson, J. Seward- Family Secret

After Renoir's On the Terrace, 1881.
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Johnson, J. Seward - If It Were Time

Cast bronze and aluminum, 1999. After Monet's Terrace at Saint-Andresse, 1867. Nearby is
Copyright Violation, Johnson's sculpture of Monet painting Johnson's sculpture of his, Monet's,
painting.
Jun, Yum Hyung - Monkey King

Yum Hyung Jun 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. 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.
The subject of this sculpture is based upon a sixteenth-century Chinese folk tale, "Journey to West",
written by by Wu Ch'eng-en (1500?-1582), a scholar-official, is one of the renowned classical
Chinese novels about an allegorical rendition of the journey, mingled with Chinese fables, fairy
tables, legends,superstitions, popuar beliefs, monster stories as well as whatever the author could find
in Taoist and Buddhist religions. 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. It was
based on a true story of the famous Chinese monk, Xuan Zang (602-664).
After years of trials and tribulations, he traveled on foot to what is today India, the birthplace of
Buddhism, to seek for the Sutra, the Buddhist holy book. When he returned to China ,or the Great
Tang as it was called that time, he started to translate the sutras into Chinese, thus making a great
contribution to the development of Buddhism in China. Monkey King is an indeed rebellious
extraordinary being, born out of a rock, fertilized by the grace of Heaven, Being extremely smart and
capable, he learned all the magic tricks and gongfu from a master Taoist, being able to transform
himself into seventy-two different images such as a tree, a bird, a beast of prey or a bug as small as a
mosquito so as to sneak into an enemy's belly to fight him inside or out. Using clouds as a vehicle he
can travel 180,000 miles with a single somersault and a huge iron bar that supposedly serves as
ballast of the seas and can expand or shrink at its owner's command as his favorite weapon in his later
feats. He claims to be the king in defiance of the only authority over heaven, the seas, the earth and
the subterranean world -- Yu Huang Da Di, or the "Great Emperor of Jade" in Chinese.
That act of high treason, coupled with complaints from the masters of the four seas and the hell,
invites the relentless scourge of the Heavenly army. After many showdowns,the emperor had to offer
the monkey an official title to appease him. Enraged he revolted, fighting all his way back earth to
resume his own claim as a king after learning that the position he held was nothing but a stable
keeper. Eventually, the heavenly army subdued him, only after many a battle, with the help of all the
god warriors. However, having a bronze head and iron shoulders, all methods of execution failed and
the monkey dulled many a sword inflicted upon him. As a last resort, the emperor commanded that he
be burned in the furnace where his Taoist minister Tai Shang Lao Jun refines his pills of immortality.
Instead of killing him, the fire and smoke added to the monkey a pair of fiery golden crystal eyes that
can see through what people normally can not. He fought his way down again. Finally, under
Buddha's help, the monkey was suppressed under a great mountain known as the Mount of Five
Fingers and he could not move. Only five hundred years later, there came to his rescuer, the Tang
Monk, Xuan Zang, whom we mentioned at the beginning of the story.
The Monkey King become the disciple of the monk and escorted him along with two other disciples
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they later came across, (actually also arranged by the Buddha). One is the humorous and not
uncourageous pig transgressed from a heavenly general for his crime of assaulting a fairy, and the
other used-to-be a sea monster. All this was Buddha's arrangement to insure that he could make it
to the West to get the sutras. The four's stormy journey west was packed with actions and
adventures that brought into full play the power of the monks' disciples, the Monkey King in
particular. The story of Journey to the West is divided into three parts: (1) an early history of the
Monkey spirit; (2) pseudo-historical account of Tripitaka's family and life before his trip to fetch
the sutras in the Western Heaven; (3) the main story, consisting of 81 dangers and calamities
encountered by Tripitaka and his three animal spirit disciples - Monkey, Pigsy, and Sandy. The
Tripitaka also refers to the three collections of books making up the Buddhist canon of scriptures
The average readers are fascinated with the Monkey King, all prowess and wisdom, while many
critics agree that the protagonist embodies what the author tried to convey to his readers: a
rebellious spirit against the then untouchable feudal rulers.
Katzen, Lila - Loquacious Three

1986, textured stainless steel, 101" x 55" x 42", textured stainless steel. A commanding abstract
work by the late Lila Katzen. This dynamic piece is charged with power that stems from the
upright asymmetrical sections that stand 8 feet tall. The work marks a break from the artist's
earlier flowing and sinuous looping ribbons of steel and follows a new direction set forth in the
early 1990s. Though not immediately apparent, the abstract works from this period are
interpretations of contemporary cultural issues as seen by the artist. The aggressive compositions,
jagged-edged fragments, and exposed seams allude to society's jarring fragmentation.
Levy, Nina - Centaur

1998, fiberglass, steel, cement A centaur in Greek mythology was a male torso with a horse's
body. I was a warlike fusion of a man and a chariot. The centaur created by Nina Levy is
composed of a top part that is a delicate, thoughtful female torso and a bottom part that is a large
bulky muscular male torso. The human and male centaur is enclosed in a confining, house like,
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.
Shakespeare's King Lear, Act IV, Scene vi, ln.124-125: "Down from the waist they're centaurs, /
Though women all above"; C.S. Lewis' centaurs from his popular Chronicles of Narnia series are
depicted as wisest and noblest of creatures. They are gifted at stargazing, prophecy, healing, and
warfare, a fierce and valiant race always faithful to the High King Aslan. Lewis generally used
the species to inspire awe in his readers; J.K. Rowling's Harry Potter series, centaurs live in the
Forbidden forest close to Hogwarts. They live in societies called herds and are skilled at archery,
healing and astrology.
See Part 2 for illustrations.
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Lindsay, Bruce - Use of Memory

2001, cast bronze, 88" x 38" x 32" Lindsay has drawn from a number of sources – twentieth-century
literature, ancient Greek art, and Hindu philosophy – in creating The Use of Memory. A nude male
figure is depicted carrying a rounded, abstract form upon his shoulders. The title was drawn from a
passage from the poem "Little Gidding" by T.S. Eliot:
This is the use of memory: for liberation --
Not less of love, but expanding of love beyond desire,
And so liberation from the future as well as the past.
The male figure recalls telamons, carved stone supporting pillars designed according to standards set
for both aesthetics and function in Greek architecture, the classic architectural figures that seem to
“hold up” Europe's most impressively historic buildings. Lindsay also had in mind the concept of how
liberation relates to the law of Karma. He explains, "The figure is in stasis, bearing the responsibility
for thought and action, and their corresponding effects. He reflects on the opportunity to shape the
future." It is interesting to consider the combination of both the figure as a traditional sculptural form
and the ambiguous biomorphic element. Floyd Frank asked Lindsay if the figure is holding testicles.
He did not get a kindly look for the question! Close inspection of the figure indicates the figure's own
testicles are there. For most, the element on the shoulder are simply sacks representing the memories
we carry around with us.
Bruce Lindsey has a sculpture honoring war dogs and their handlers. A sculpture of a Vietnam soldier
crouching beside his dog as he is alerted to danger is to be installed at the New Jersey Vietnam
Veterans' Memorial. The War dogs Association, uswardogs.org, funded the work.
Lundberg, Peter - Where is Geometry

1999 , Stainless steel, concrete, 168” x 144” x 144” Very different use of stainless than Yang Note
interlocking rings - 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.
Mateescu, Patriciu - Haiku #5
Removed. 2004, glazed stoneware, 60" x 48" x 36"; 48" x 42" x 36" The series of sculptural
installations called Hai Ku by Patriciu Mateescu are made up of five groups of large scale ceramic
spirals. Reminiscent of the Japanese poem structure, each piece is considered to be “three-
dimensional calligraphy.” Hai Ku #5 consists of two black glazed stoneware sculptures. Together they
compose a verse in the vocabulary of this sculptor who has worked in ceramics throughout his career,
which spans nearly 50 years. He states, “From building sand castles in my childhood to my present
work, the pleasure of hand modeling the clay remains the final formal expression of my sculptures.”
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Meadmore, Clemet - Offshoot

1982, painted aluminum, 2/2, 120" x 288" x 144" Clement Meadmore studied industrial design in
his native Australia, then decided instead to become a sculptor. While a young artist, his work
was highly regarded and he was awarded a number of exhibitions, including several one-person
shows in Melbourne and Sydney. Meadmore moved to New York in 1963 at the age of 34 and
later became a United States citizen.
Cor-Ten steel became his preferred medium. His powerful but spare works were often fabricated
at Lippincott, Inc., in Connecticut, a plant that was specially developed to strictly produce works
of art. Meadmore has explored variations of elongated, squared metal tubes in a majority of his
works. In the mid-1970s, his sculptures became more complex; the single bar divided, moving
into multiple directions while the surfaces remained understated, painted a matte black or left to
rust. "Offshoot" is an example of that development, as a single, squared tube twists upward to
join a massive horizontal section which then divides and turns once more. An illusion of lightness
is created as the dark horizontal piece balances effortlessly in spite of its weight and length of
twenty-four feet.
Namingha, Arlo - Dance

2004, bronze edition of 6, 77" x 21 1/2" x 20"
"The majority of sculptures I create reflect my Tewa/Hopi background. Using the idea
of design, form, and movement, I minimize these literal images not to recreate them
but to draw from them and my personal experiences.
My work not only reflects the figurative aspect of my native people and cultural dieties
but also the idea of scenery and landscape as well as symbolism." - Arlo Maminga in
the GFS Spring/Summer Exhibition catalog.
Newman, John - Skyhook

steel, stone. epoxy foam, epoxy resin, cable, wood paint; 20' x 25' 13', 1998 See extended
discussion of Newman in the Appendix.
Joan Schornstaedt: "John says that this piece is very easy for the viewer to understand. The blue
“doughnut” is the sky. The bottom is earthbound and heavy and the top transcendent and light.
Maybe it speaks of heaven and earth. The pole and rope are not functional, but are part of the
sculpture. Maybe they tether heaven and earth together?? I always have my visitors look at the
piece from a distance and then stand under it. When you are under the “doughnut”, you really fell
earthbound and heavy. It is very oppressive, a sharp contrast to how it appeared from a distance."
Ogden, Jr., Samuel R. - Seven Prisms

1975, painted steel, 108" x 60" x 42" Seven Prisms by Samuel R. Ogden, Jr. is a monochromatic
abstract work based upon a single geometric shape. The title refers to the multiple of prism forms
made from cut and welded steel plate that are balanced in a spiraling linear composition, which
moves through space and reaches upwards. All sharing the same dimensions, the prisms are
welded to each other in a zig-zag formation that echoes their angles, directly relating the
sculpture to the negative space surrounding it. The dynamics between these angles continuously
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alter as one circles the work. This changing pattern, along with the sculpture’s proportions and scale,
imbue the steel piece with a forceful, yet restrained energy.
Oka Doner, Michele - Eve and Venus (two works)

Eve #1, 2002, cast bronze, 62" x 16" x 14"; Venus #1, 2002, cast bronze, 65" x 16" x 14"
: "Another docent told me they are made from coral, then cast in bronze."
Payne, Kenneth - Spector

1997, cast iron, 54" x 16" x 9" 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 and co-hosted by the Johnson Atelier Technical Institute of Sculpture.
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.
Pels, Marsha - Acheron

1985-87, cast bronze, marble, 54" x 144" x 48" The haunting, bronze sculpture "Acheron" was
purposely sited at the edge of the lotus pond, as water is an integral part of the work. The artist has
explained that " Acheron" was built as a direct result of visiting both Dachau and Pompeii while she
was in Europe on a Prix de Rome. It is also a memorial to the death of my friend, the sculptor Ana
Mendieta who died in September 1985, upon my return from Italy.
In trying to deal with the difficult narrative of three distinct kinds of death or methods of murder:
mass, communal and individual, she choose the image of the boat as a metaphor for the transport of
lost souls. The boat form is a potent image in so many cultures as the spiritual bridge between life and
death. It is monumental enough construct to house layers of ancient and modern meaning, without
necessarily being a cliche.
This was the first time she worked in directly cast bronze bodies by lying down in the sand. It was a
combined instinctive and literal response to the photographs I saw of events at Dachau and the images
she saw at Pompeii--bodies in gestures of sleep or movement frozen in time by molten lava, and a
homage to Ana's own process of using her body in or on the ground in her photographs and siteworks.
Acheron, is the Greek mythological name for one of the rivers in Hades, over which Charon ferried
the souls of the dead. The River Styx, being the most famous among these tributaries, means hateful.
Acheron means woeful.
The name of one of the five rivers (occasionally also regarded as a lake) that flow through the realm
of Hades. Acheron means "river of woe", and is often metaphorically used for Hades itself. Here the
shades are ferried across by Charon. (Virgil VI, 107). The souls of the deceased are brought to Cheron
by Hermes, and he ferries them across the river Acheron.
He only accepts the dead which are buried or burned with the proper rites, and if they pay him an
obolus (coin) for their passage. For that reason a corpse had always an obolus placed under the
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tongue. Those who cannot afford the passage, or are not admitted by Charon, are doomed to
wander on the banks of the Styx for a hundred years
Living persons who wish to go to the underworld need a golden bough obtained from the
Cumaean Sibyl. Charon is the son of Erebus and Nyx. He is depicted as an sulky old man, or as a
winged demon carrying a double hammer.
Perlman, Joel - Red Diamond

painted steel, 1982, 112” x 51” x 28” Red Diamond, demonstrates balance between the geometric
and the gestural as well as positive and negative space. A dangerously tilted red square encrusted
with geometric forms balances precariously atop two fragmented rectangular metal legs to create
a passageway that frames the surrounding environment. Red Diamond is atypical in that for many
years now, Perlman has turned his attentions away from painted steel, preferring the innate beauty
of the raw material.
Peterson, Karen* - Beast

cast bronze, 2/7; 87" x 102" x 41"
Karen Petersen’s style is a combination of polished modernism and ancient art, often revealing a
stylized but natural beauty in her pieces. Her pieces are imbued with a sense of natural power and
sensuousness. Her work can be mysterious, revealing a secret or spiritual moment in their
timeless forms, but are also readily identifiable and always illicit an emotional response.
Pfitzenmeier, Robert - Point of View

Removed. The 10-foot Point of View by Robert Pfitzenmeier seems to balance precariously on its
triangular point. Two long aluminum bars cross in front of a pentagonal opening in the triangle,
creating many other geometric forms in the negative space. An exploration of structure seems
apparent here, and a cool elegance is conveyed through the finely finished forms. The upward
thrust of the sculpture indicates the artist’s hope for “finding a greater balance between our
techno-industrial civilization and our natural environment.” Nature peeks through and around the
sculpture, causing a contrast of forms that is striking. In other sculptures by the artist, forms
mimic or reflect nature, but use high-tech materials. As he states, “I’m very concerned with the
struggle to maintain a balance between our needs as a civilization and the health of the natural
environment.”
Porcaro, Don - Data and Dust #4

1996, stone, steel, 117" x 72" x 68"
Putnam, Tony - Sacred Grove

1996, welded copper, 180" x 108" x 68'"
Go inside the sculpture to look at the stars. "Sacred Grove" is a designation used by many
cultures to designate a spiritual location. Wikipedia lists several sacred groves for the
Mediterranean region.
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1. The most famous sacred grove in mainland Greece was the oak grove at Dodona. Outside the
walls of Athens, the site of the Academy was a sacred grove of olive trees, still recalled in the
phrase "the groves of Academe."
2. In central Italy, the town of Nemi recalls the Latin nemus Aricinum, or "grove of Ariccia", a
small town a quarter of the way around the lake. In Antiquity the area had no town, but the
grove was the site of one of the most famous of Roman cults and temples: that of Diana
Nemorensis, a study of which served as the seed for Sir James Frazer's seminal work on the
anthropology of religion, The Golden Bough. (As Frazer tells it, in the sacred grove there was
a tree and priest of the sanctuary who continually circled the tree with a drawn sword ready to
strike. A new candidate for the priesthood must slay the current priest in orer to take his
place.)
3. A sacred grove behind the House of the Vestal Virgins on the edge of the Roman Forum
lingered until its last vestiges were burnt in the Great Fire of Rome in 64 CE.
4. In the town of Spoleto, Umbria, two stones from the late third century BCE, inscribed in
archaic Latin, established punishments for the profanation of the woods dedicated to Jupiter
(Lex Luci Spoletina) have survived; they are preserved in the National Archeological
Museum of Spoleto.
5. The Bosco Sacro (literally sacred grove) at Bomarzo, Italy is a well-known sculpture garden
and sacred grove."
Ressler, Robert - Wave Hill

2000, cast bronze, 127" x 36" x 34" A new version of Wave Hill is installed on the grounds. It was
cast in bronze at the Johnson Atelier 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. Aluna, another vessel-shaped sculpture on the grounds,
was Ressler’s first large-scale work cast in bronze from a carved wood piece.
Joan Schornstaedt: "The name Wave Hill is from a sculpture park in New York. Robert Ressler also
creates large insect sculptures and the like for children to play on. They are in playgrounds in NY
City. The kids bounce on them and I think one may be a see-saw. This was from a video on him in the
docent library."
Rutsch, Alexander - Dancers

Removed. 1997, cast bronze, 113" x 92" x 60"
Shaw, Ernst - Sumo

1994, Blue Mountain granite; 136" x 164" x 48"
Joan Schornstaedt: "A docent told me this piece was made as a maquette and then created at the
digital stone project. I usually bring this up in my tours and raise the issue of whether it is “fair” that
the artist did not actually chisel the stone himself. He did come up with the idea though. So can he
call himself the creator? This usually makes for an interesting discussion."
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Steele, Larry - Shiva

1991, cast iron, steel, 69" x 58" x 26" 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.
Shiva was not the original name of the sculpture. Shiva or Sivashē'və, one of the greatest gods of
Hinduism, also called Mahadeva. The horned god and phallic worship of the Indus valley
civilization may have been a prototype of Shiva worship or Shaivism. Shaivism is mentioned as
early as the Upanishads and the Mahabharata (500–200 B.C.). Shiva is identified with the fierce
Vedic god Rudra and, in his terrible aspect, is the god of destruction and cosmic dissolution. He is
commonly worshiped in the form of the lingam, or symbolic phallus. His other main forms are
the great yogi, or ascetic, and Nataraja, Lord of the Cosmic Dance. As a yogi he is depicted as
seated deep in meditation in the Himalayas, holding a trident, a snake coiled around his neck, his
body smeared with ashes, and his hair long and matted. As Nataraja, he is shown four-armed,
bearing various emblems, and dancing on one foot on a prostrate demon. Shiva's mount is the bull
Nandi, and his consort is the goddess Uma, Parvati, Durga, or Kali.
Brahmabrä'mə, a god often identified, with Vishnu and Shiva, as one of the three supreme gods in
Hinduism. In the late Vedic period he was called Prajapati, the primeval man whose sacrifice
permitted the original act of creation. His popularity has declined since the Gupta era (A.D. 320–
550), and today only one temple near modern Ajmer is devoted to him. He is regarded as the
creator and is periodically reborn in a lotus that grows from the navel of the sleeping Vishnu. His
consort Sarasvati is the patroness of art, music, and letters, and the traditional inventor of the
Sanskrit language. The kalpa or day of Brahma, equal to 4,320,000,000 earthly years, is a basic
unit in Hindu chronology. The neuter form of the masculine name Brahma is Brahman.
Shiva is usually worshipped in the form of Shiva linga. In images, he is generally represented as
immersed in deep meditation or dancing the Tandava upon the demon of ignorance in his
manifestation of Nataraja, the lord of the dance.
In some other Hindu denominations, Brahma, Vishnu, and Shiva represent the three primary
aspects of the divine in Hinduism and are collectively known as the Trimurti. In this school of
religious thought, Brahma is the creator, Vishnu is the maintainer or preserver, and Shiva is the
destroyer or transformer.[
Steele had been a staff member of the Johnson Atelier Technical Institute of Sculpture since 1985.
Stielow, Hartmut - Zwei Quadrate

2001, granite steel, 34" x 56" x 32" Zwei Quadrate was previously featured in Selections: Works
from the ISC Board, one 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.
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The horizontally placed, heavy, dense stone is cantilevered from the vertical metal section, setting up
tensions that address balance and weight, and 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.
Strang, Robert - Solemn

Fabricated aluminum, 2000 Strang's web site says "My 3-dimensional objects utilize scale above all
other formal elements to draw a viewer out. Scale is by far the greatest catalyst for illusion within real
space. scale > temperament > behavior" The formula scale > temperament > behavior indicates
Strang's collaboration with David Klugman.
Living Abstractly: Art and Imagination in Daily Life delineates, in easy to read, outline, manifesto-
like format, the aesthetic and philosophical implications of non-communicative abstract art. Founded
by painter and sculptor Robert Strang, non-communicative art works in ways that demand active
participation from the observer. Unlike many popular forms of fine art in his era (from Abstract
Expressionism to Conceptual Art), Strang’s intention is to create completely non-referential objects
that take the viewer in new directions; directions that grow directly out of the observer’s
psychological response to the object.
This book represents over thirty years of collaborative effort between Robert Strang and David
Klugman, who have worked together with the intention of clarifying the meaning and value that non-
communicative art can offer, not only to the individual, but to the culture at large.
email: rs@robertstrang.com telephone: 646.533.3886
See http://www.robertstrang.com/sculpt01.html and http://www.thefeelinglife.com/
Strong-Cuevas - Arch II, Set II

1995, Fabricated aluminum., 144" x 132" x 156"
Strong-Cuevas - Two Face Telescope

1990, fabricated aluminum, 168" x 144" x 72" Strong-Cuevas explores a recurring motif -- abstract
androgynous heads -- in her metal sculptures. In "Two Face Telescope," she portrays two similarly
shaped faces from which a tube has been suspended. There is a well-balanced tension in the piece as
the telescope, though static, looks like if one of the heads moved slightly, the telescope could detach
and fall to the ground. Strong-Cuevas works with both positive and negative space representing to her
viewers the duplicity of life. She gracefully demonstrates how when two forms are brought together,
there is a harmony, connecting the elements into one solid piece.
Strzelec, Patric - Woman in a Bathtub

1979, cast bronze, 36" x 72" x 36"
Surls, James - Standing Vase with Five Flowers

2005 bronze, stainless steel H. 180 x W. 84 x D. 84 inches
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Surls' 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 naïve, cloaking his great skill as a craftsman. More than most artists, Surls’s work is a self
portrait, not in detail but in soul.
Takaezu, Toshiko - Three Graces

1994, cast bronze, three elements, each about 70" x 23" x 23" Toshiko Takaezu was born and
educated in Hawaii. Many of her pieces are housed in the permanent collections of several
museums within the US, and others reaching as far as the city of Bangkok, Thailand. Takaezu's
forte is working with clay. "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." She
creates sculptures with roots in traditional Japanese pottery techniques that are organic in form
and closely tied with nature. The "Three Graces" seem to swell from their bases upwards and
outwards with life. The patinated surfaces on these bronze works are not perfectly smooth, but are
covered with traces of the sculptor's marks from the original clay model.1 The Graces presided
over banquets and gatherings primarily to entertain and delight the guests of the Gods. As such
they have always proved to be attractive figures for historical artists.
In Greek mythology, a Charis is one of several Charites (Χάριτες; Greek: "Graces"), goddesses of
charm, beauty, nature, human creativity and fertility. They ordinarily numbered three, from
youngest to oldest: Aglaea ("Beauty"), Euphrosyne ("Mirth"), and Thalia ("Good Cheer"). In
Roman mythology they were known as the Gratiae, the "Three Graces."
The Charites were usually considered the daughters of Zeus and Eurynome, though they were
also said to be daughters of Dionysus and Aphrodite or of Helios and the naiad Aegle. Homer
wrote that they were part of the retinue of Aphrodite. The Charites were also associated with the
underworld and the Eleusinian Mysteries.
A famous sculpture by Antonio Canova is The Three Graces. It is a Neo-Classical sculpture, in
marble, of the mythological daughters of Zeus – identified on some engravings of the statue as,
from left to right, Euphrosyne, Aglaea (Algaia) and Thalia.
“Sound is so very important.... Color? I just like the color.” - Toshiko Takaezu
1. The Penland School of Crafts Book of Pottery, New York: Bubbs-Merrill, 1973, p. 145.
Theel, Gunnar - Nature's Laugh

1992, 84 3/4" x 72 1/2" x 62" copper, stainless steel, marine plywood, soil, grass Nature's Laugh,
an upside down house, reflects Theel's interest in architecture, nature, and humor. He got the idea
for Nature’s Laugh when he was reading about Mayan cities. He wants us to appreciate nature’s
resiliency. He says man covers the ground with too much concrete. A house is man’s most
cherished object. Nature says “enough is enough. I turn your house upside down”. Inside the
sculpture is marine plywood and a plumbing system to keep the greenery watered. The ladder is
partly functional as it helps to actually balance the piece. It’s also a bit of a joke since you usually
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use a ladder to get to the top of something but in this case you use the ladder to climb to the “bottom”
which Gunnar says is “odd”.
“The work tells me where to go ... and the ending speaks more intensely.” - Gunnar Theel
Van Alstine, John - Schiabo Rounder

Removed.
Van Alstine, John - Stone Pile

1980, Colorado flagstone, steel; 57” x 76” x 76” John Van Alstine’s sculptures are centered on the
union of natural materials, such as stone, with human-made materials, such as steel. As he describes
it, “found objects with their individual histories and associations are plucked from one context and
combined with others, creating new things.” In these assemblages, stone is left in its natural state,
with little or no carving, imparting a timeless quality. Metal, as used in Van Alstine’s sculptures, tends
to convey an industrial connotation while physically linking the stones and other elements together.
Layers of association, symbolism, and narrative are recognized by the artist as lending the work an
ability to be interpreted in a variety of ways. 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. An abundance
of sedimentary stone formed by millions of years of layering was prevalent in the area. As Van
Alstine has stated, his work “incorporated stacked Colorado flagstone to echo or reiterate the nature
of the material and how it came into existence.” In Stone Pile, the metal that elevates the sculpture off
the ground and separates the stones, creates both visual and physical tension. As each flagstone is
layered on top, the sculpture becomes more stable and compressed. Van Alstine also relates the
sculpture to the human impulse to stack for storing, moving, counting, and building.
Vanderbilt, Gloria - Heart's Desire

2008, plexiglas construction, 6' x 6' x 6'
Vanderbilt began her series of Plexiglas constructions, entitled Dream Boxes, in 1996 and since that
time, they have been exhibited widely throughout the United States. These works are incredibly
beautiful yet slightly disturbing; like dreams themselves, they are filled with mystery. Large plastic
cubes enclose found objects such as dolls’ heads, wishbones, and other common items. These
everyday materials, not the usual stuff of high and serious art, stand alone as structured, volumetric
statements. Vanderbilt’s provocative and imaginative art urges the viewer to think as well as to
appreciate. Usually a Dream Box sculpture is much smaller than the one installed in GFS.
“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 is also a novelist. The iconic socialite’s 2009 yarn, ‘Obsession: An Erotic Tale,’ tells
the story of a “frigid” woman who finds a stack of letters from her dead husband’s mistress. It is
described as “pure, elegant, unadulterated smut” filled with 4-letter words and special uses of garden
vegetables. For example, “I will begin, softly at first so that you can sleep a few more minutes, the
long, slow, delicious process of [DELETED], and since I must have your [DELETED] ... I will
struggle to stay quiet ... Master, I whisper as you surrender to our ecstasy.” This is Vanderbilt’s
second saucy book in recent years. She describes her current boyfriend as the ‘Nijinsky of [a
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particular sex act].’

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Gloria Vanderbilt - Interviewed for EXPRESSIONS, Winter 2009, by D.J. Haslett
EXPRESSIONS: You have worked in many artistic mediums, both performance and visual, in your career.
What inspired your DREAM BOX series, two of which are on display at Grounds For Sculpture?
GLORIA: About ten years ago I started having interesting dreams which related to objects I would later
come upon in the flea markets I frequented. I brought them to my studio and assembled the dreams into
some kind of order in
Plexiglas boxes so that they told a story, which is why I named them DREAM BOXES.
EXP: Your sculpture REMEMBER? is on exhibit in the Visitor’s Center. Patrons have asked if the items in
the box, including the two dolls and a third figure, are yours. If not, where did you find them?
GLORIA: I collect found objects from here, there, and everywhere, which find their place at some time or
another in a DREAM BOX.
EXP: How do you interpret your REMEMBER? piece?
GLORIA: Sibling rivalry, perhaps? Or…?
EXP: The second piece in the park is HEART’S DESIRE, and patrons have many questions about it,
especially about the items in the box. Can you give us some insight into the items including the two large
dolls; the woman facing the large doll; the dolls
in the jar; the heart in the clamp; the blond-haired doll; the dollar sign; the arrow with the number 15 on it;
the wooden carved figure; the skull, dice, and snake; the glass castle; the stars in one of the lower boxes;
the ice cube in the box; and what appears to
be a focal point; the red glass heart?
GLORIA: HEART’S DESIRE Sculpture… The central theme of HEART’S DESIRE is a yearning that
does not seem to end. There is no “it,” there’s just the longing FOR “it.”
The dolls in the jar—babies waiting to be born?
The stars in the back lower box—hope?
The glass castle—home is your castle?
The ice cube in the front box—hopes melting?
The large standing doll, arms outstretched — compassion/healing?
The armless woman facing the compassion doll—pain/loss/despair/grief/loneliness?
The dollar sign—money?
The small blond-haired doll looking into the box that holds the crystal heart—Marilyn
Monroe?
The heart in the clamp—“it”?
The wooden carved figure reaching out to the heart in the clamp—the yearning for “it”?
The snake—evil ready to sting the doll reaching for “it”?
The skull—death?
The arrow pointing to the skull—an arrow pointing to death?
The number 15 and the two dice—random chance?
EXP: Does the pathway leading to HEART’S DESIRE have any significance to the piece, such as finding
your way?
GLORIA: Seward Johnson saw a 24” by 24” DREAM BOX at Joyce Carol Oates’ house. It was his genius
that had the concept to enlarge a DREAM BOX into a 6’ by 6’ sculpture and to install it in a forest of trees
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approached by a winding path.

EXP: What is your overall interpretation of HEART’S DESIRE?
GLORIA: The red crystal heart centered in the sculpture: the longing that does not seem to end — the longing
for “it”?
EXP: What would you like people to experience when they view your work?
GLORIA: Surprise/puzzlement/fun/curiosity/wonder of the heart/see something in a new way.
EXP: Your art education included attending the Art Student League in New York which has been attended by
many famous artists such as yourself. Were you influenced by any of these artists, and which artists did you find
the most interesting?
GLORIA: At the Arts Students League I was blessed to have as a teacher the great Robert Beverly Hale. These
words to his students had tremendous impact:
I intimated that the artist doesn’t see things as they are, he sees things as he is. I warned them that there was
nothing more dreadful than imagination without taste. I also told them that the life of the artist was desolate and
dangerous, and finally I told them, in the words of Camus, that I was convinced that a man’s work was nothing
but the long journey through life to recover, through the detours of art, the two or three great and simple images
that first gained access to his heart.
EXP: Do you have any advice for emerging artists on promoting their work?
GLORIA: Keep working.
EXP: Can you tell us what pieces you may be working on now, or where we can see some of your exhibits in
the future?
GLORIA: Sponsored by the Southern Vermont Arts Center, my paintings can be viewed on
gloriavanderbiltfineart.com.
Obsession: An Erotic Tale, will be published by Ecco Harper Collins in June 2009.
But most of all my inspiration is appetite for life – Mary Oliver’s poem comes to mind, “Messenger” begins,
“My work is loving the world.” As Amy Hempel has said, it is “a poem of the miraculous in the
everyday…‘which is mostly standing still and learning to be astonished.’ How fascinating it is to find what
influences and inspires, what is filtered out and becomes flotsam winding ‘somewhere safe to sea,’ and yet is
never lost because it has found life in a story, a painting, a song.”
http://www.gloriavanderbiltfineart.com/index.cfm?
fuseaction=page.display&page_id=25&CFID=6457683&CFTOKEN=77317515 January 18, 2009
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Victor - Birth of the Messenger

1998, granite, 84” x 53” x 17” Viewed from the front, Birth of the Messenger, carved from gray
granite, portrays the head and torso of a nude female figure who is pregnant. With softened contours,
she emerges almost ghost-like from an arched niche, a traditional architectural recess built into a wall
to display statues. The artist depicts the "messenger" coming into the human world through
"conventional" means – through a woman’s body, which can also be seen as a kind of niche.
On the opposite side of the work, a male figure is enclosed in an upward oriented niche, as if dropped
there by God. The figurative and architectural elements of the composition pay tribute to the history
of sculpture. The use of stone, a universal medium from which a multitude of statues and monuments
have been made, further adds to this continuum.
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Victor was born in Odessa when the city was part of the U.S.S.R
Wholley, Jay - La Casa de Bernardo Alba

2000, cast and fabricated bronze, 96" x 39" x 34 1/2" Title after The House of Bernarda Alba by
Federico Garcia Lorca. A short play is set in rural Spain at the turn of this century. The characters,
all women, exist in a cloistered household managed by a newly widowed mother (Bernarda Alba)
of five daughters. Under the shadow of the church and the tyranny bred from a need to protect the
reputation of the family, the matron represses her daughters by enforcing an eight year mourning
period. The tensions build rapidly among the imprisoned women, with a demented grandmother
playing a role resembling that of a Greek chorus. Eventually, the natural spirits of the daughters
circumvent Bernarda, but the result is violence and a suicide.
The composition of this bronze work presents a contrast between flat 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.
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.
Joan Schornstaedt: "I heard that the piece was originally silver but the peacocks kept pecking at
their reflections so it was painted black. I also point out the the piece must have been carved from
a chunk of Styrofoam and then cast in bronze. You can see the Styrofoam details in the missing
pieces. I also point out the crumbling qualities of Styrofoam as it relates to the family crumbling
in the piece."
Witkin, Isaac - Garden State

1997, Zimbabwe black granite, 228" x 132" x 114"
Isaac Witkin was commissioned by Grounds For Sculpture to create "Garden State," a
monumental new work installed on a prominent site in the sculpture park. Garden State, a 16-
foot-high, 75-ton sculpture, was cut from massive blocks of black granite imported from
Zimbabwe. The work marks a significant new direction in the artist's impressive and prolific
career, as it is only the second piece he has created using stone as a medium. The first, "Eolith," a
sculpture constructed of stacked gray granite elements, was shown at Grounds For Sculpture in
1995 courtesy of the Philip and Muriel Berman Collection.
Seward Johnson approved a large scale model that was constructed in the Museum building.
Because the stone is so hard it can't be cut with a chisel. It took Witkin and three helpers more
than a year to complete the sculpting working with power tools.
Witkin, known for his bold formal constructivist steel pieces from the 1960s, expanded his
sculptural vocabulary in the following decade with explorations of experimental foundry
techniques. The artist began by pouring molten metal, drawing with the liquid bronze directly
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onto a bed of sand. The shapes created by the cooled and hardened metal served as points of departure
and inspired the forms of larger later works. The configuration of "Garden State" is evocative of those
elongated, upright, poured and welded bronzes.
There are echoes of the shapes in Garden State in Eolith and to a lesser extent in Bathers. The heart
shaped structure at the bottom of the sculpture facing toward the Museum Building is Witkin's logo
for his company, Alpha Bronze. It also appears in other sculptures. Alpha bronze is an alloy of copper
and tin that can be worked.
Witkin, Isaac - Hawthorne Tree II

cast bronze, 1990.
"Every shepherd tells his tale Under the hawthorn in the dale." - John Milton (1608-1674)
The number of superstitions & traditions attached to hawthorns are legion. For example, a thorn from
a hawthorn can be kept in one's pouch while fishing to guarantee a good catch.
In Arabic erotic literature, hawthorn is regarded as an aphrodisiac because the flowers presumedly
smell like aroused women. This is also why the hawthorn was sacred to Hymen or Hymenaeus, the
Greek God of the marriage chamber. He was the son of Apollo & a Muse. Or, perhaps according to
some, his mother was Aphrodite & his father Dionysios.
On the witches' holiday of Beltane (May Day), witches were supposed to be able turn themselves into
Hawthorns. The greatest of all goddess-witches, Nimue, had her great victory over Merlin when she
snared him eternally in the thorny branches of a hawthorn. If you look in the center of this abstract
sculpture you may be able to see Merlin trying to escape from the Hawthorne tree where he was
magically entrapped by his lover after he taught her all his magic!
Witkin, Isaac - Linden Tree

1983 cast bronze 10 ft. See http://www.online-mythology.com/, http://en.wikipedia.org/wiki/Tilia
The name Linden has long list of associations lime, tilia, etc. in other languages and cultures. In
German folklore, the linden tree is the "tree of lovers." The most famous street in Berlin, Germany is
called Unter den Linden or Under the lindens, named after the linden trees lining the boulevard. In
German folklore, the linden tree is the "tree of lovers."
The name of Linnaeus, the great botanist, was derived from a lime tree. The lime tree is a national
emblem of Slovakia, Slovenia and the Czech Republic,where it is called lipa (in Slovak, Polish, and
Slovenian) and lípa (in Czech). The tree also has cultural and spiritual significance in Hungary, where
it is called hars(fa).The Croatian currency, kuna, consists of 100 lipa, also meaning "linden". The lime
tree is also the tree of legend of the Slavs. In the Slavic Orthodox Christian world, limewood was the
preferred wood for panel icon painting.
In Germanic mythology, the tilia was also a highly symbolic and hallowed tree to the Germanic
peoples in their native pre-Christian Germanic mythology. Originally, local communities not only
assembled to celebrate and dance under the lime-tree to hold their judicial thing meetings there in
order to restore justice and peace. It was believed that the tree would help unearth the truth. Thus the
tree became associated with jurisprudence even after Christianization, such as in the case of the
Gerichtslinde, and verdicts in rural Germany were frequently returned sub tilia (under the lime-tree)
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until the Age of Enlightenment.

In the Nibelungenlied, a medieval German work ultimately based off of oral tradition recounting
events amongst the Germanic tribes in the 5th and 6th centuries, Siegfried gains his
invulnerability by bathing in the blood of a dragon. While he did so, a single linden tree leaf
sticks to him, leaving a spot on his body untouched by the blood and he thus has a single point of
vulnerability.
In Greek mythology we have Ovid's story of Baucis and Philemon, where she was changed into a
linden and he into an oak when the time came for them both to die and Herodotus' report of the
Scythian diviners take also the leaf of the lime-tree, which, dividing into three parts, they twine
round their fingers; they then unbind it and exercise the art to which they pretend. Homer,
Horace, Virgil, and Pliny also mention the lime-tree and mention its virtues.
Baucis and Philemon were an old married couple in the region of Tyana, which Ovid places in
Phrygia, and the only ones in their town to welcome disguised gods Zeus and Hermes (in Roman
mythology, Jupiter and Mercury respectively), thus embodying the pious exercise of hospitality,
the ritualised guest-friendship termed xenia.
Zeus and Hermes came disguised as ordinary peasants and began asking the people of the town
for a place to sleep that night. They were rejected by all before they came to Baucis and
Philemon's rustic and simple cottage. Though the couple were poor, they showed more piety than
their rich neighbors, where were "all the doors bolted and no word of kindness given, so wicked
were the people of that land." After serving the two guests food and wine, which Ovid depicts
with pleasure in the details, Baucis noticed that although she had refilled her guest's beechwood
cups many times, the wine pitcher was still full. Realising that her guests were in fact gods, she
and her husband "raised their hands in supplication and implored indulgence for their simple
home and fare." Philemon thought of catching and killing the goose that guarded their house and
making it into a meal for the guests. But when Philemon went to catch the goose, it ran onto
Zeus's lap. Zeus said that they did not need to slay the goose and that they should leave the town.
Zeus said that he was going to destroy the town and all the people who had turned him away. He
said Baucis and Philemon should climb the mountain with him and not turn back until they
reached the top.
After climbing the mountain, Baucis and Philemon looked back on the town and saw that it had
been destroyed by a flood. However, Zeus had turned Baucis and Philemon's cottage into an
ornate temple. The couple were also granted a wish; they chose to stay together forever and to be
guardians of the temple. They also requested that when it came time for one of them to die, the
other would die as well. Upon their death, they were changed into an intertwining pair of trees,
one oak and one linden, standing in the deserted boggy terrain.
Baucis and Philemon do not appear elsewhere in Greek myth, nor anywhere in cult, but the
sacred nature of hospitality was widespread in the ancient world. After Abraham and Sarah had
feasted them, two strangers were revealed as "two angels" (Genesis 19:1; the story is in the
previous chapter). Hebrews 13:2, which may be aware of Ovid as well as of Genesis, converts
hospitality stories into a virtue injunction: "Do not neglect to show hospitality to strangers, for by
doing that some have entertained angels without knowing it." The possibility that unidentified
strangers in need of hospitality were gods in disguise was ingrained in first century culture. Acts
14:11-12 relates the ecstatic reception received less than two generations after Ovid's publication
of the tale by Paul of Tarsus and Barnabas: "The crowds shouted 'The gods have come down to us
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in human form!' Barnabas they called Zeus, and Paul they called Hermes".
In Norse and German mythology, Freya was the goddess of love her tree was always considered a
romantic symbol, even to the present day. For instance, a very famous mediaeval love poem by
Walther von der Vogelweide (c.1170-c.1230) starts with a reference to the lime-tree:
Under der linden Under the lime tree

an der heide, on the open field,
dâ unser zweier bette was, where we two had our bed,
dâ mugt ir vinden you still can see
schône beide lovely both
gebrochen bluomen unde gras. broken flowers and grass.
vor dem wald in einem tal, On the edge of the woods in a vale,
tandaradei, tandaradei,
schône sanc diu nahtegal. sweetly sang the nightingale.
Other Literary References: The lime tree is an important symbol in Samuel Taylor Coleridge's "This
Lime-Tree Bower My Prison," (written 1797; first published 1800). The linden tree is featured as a
symbol of supernatural dread in, Hannah Crafts, The Bondwoman's Narrative. A poem from Wilhelm
Müller's cycle of poems, Winterreise, is called "Der Lindenbaum." The cycle was later set to music by
Franz Schubert.
Witkin, Isaac - Madam Butterfly

See http://en.wikipedia.org/wiki/Madama_Butterfly Madama Butterfly (Madame Butterfly) is an
opera in three acts (originally two acts) by Giacomo Puccini, with an Italian libretto by Luigi Illica
and Giuseppe Giacosa. The opera was based in part on the short story "Madame Butterfly" (1898) by
John Luther Long—which was turned into a play by David Belasco—and also on the novel Madame
Chrysanthème (1887) by Pierre Loti.
Madam Butterfly takes place in 1904, Nagasaki, Japan. The American Lieutenant B.F. Pinkerton,
Nagasaki marries Cio-Cio-San (Japanese: Chōchō-san), or, as she is known to her friends, "Butterfly"
(Japanese: 蝶蝶 chōchō), a 15-year-old Japanese geisha. The American consul Sharpless, a kind
man, begs Pinkerton to forget this plan, when he learns that Butterfly innocently believes the marriage
to be binding. (In fact, both the marriage and the lease on the house may be canceled at short notice).
The lieutenant laughs at Sharpless' concern, and the bride appears with her friends, joyous and
smiling. Sharpless learns that, to show her trust in Pinkerton, she has renounced the faith of her
ancestors and, therefore, she can never return to her own people. (Butterfly: "Hear what I would tell
you"). Pinkerton also learns that she is the daughter of a disgraced samurai who committed seppuku,
and so the little girl was sold to be trained as a geisha.
Pinkerton's tour of duty is over, and he has returned to the United States, after promising Butterfly to
return "When the robins nest again." Butterfly has Pinkerton's child and three years and three years
pass. Butterfly's faithful servant Suzuki rightly suspects that he has abandoned them, but is upbraided
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for want of faith by her trusting mistress. At this point, Cio-Cio San sings one of the most
repeated arias in all of opera "Un Bel Di" (One fine day) to Suzuki, where she describes the day
when Pinkerton returns to her on his White Ship.
Meanwhile, Sharpless has been sent by Pinkerton with a letter telling Butterfly that he has
married an American wife. Butterfly (who cannot read English) is enraptured by the sight of her
lover's letter and cannot conceive that it contains anything but an expression of his love. Seeing
Butterfly's joy, Sharpless cannot bear to hurt her with the truth. When Goro brings Prince
Yamadori, a rich suitor, to meet Butterfly, she refuses to consider his suit, telling them with great
offense that she is already married to Pinkerton.
Butterfly is still intently watching for Pinkerton when Suzuki awakens and brings the baby to her.
(Butterfly: "Sweet, thou art sleeping.") Suzuki persuades the exhausted Butterfly to rest.
Pinkerton and Sharpless arrive and tell Suzuki the terrible truth: Pinkerton has abandoned
Butterfly for an American wife named Kate. Pinkerton departs. Suzuki brings Butterfly into the
room. She is radiant, expecting to find her husband, but is confronted instead by Pinkerton's new
wife. As Sharpless watches silently, Kate begs Butterfly's forgiveness and promises to care for her
child if she will surrender him to Pinkerton. Butterfly receives the truth with apathetic calmness,
politely congratulates her replacement, and asks Kate to tell her husband that he must come in
half an hour, and then he may have Sorrow, whose name will then be changed to Joy. She herself
will "find peace." She bows her visitors out, and is left alone with young Sorrow. She bids a
pathetic farewell to her child (Finale, Butterfly: "You, O beloved idol!"), blindfolds him, and puts
a doll and small American flag in his hands. She takes her father's dagger--the weapon with which
he made his suicide--and reads its inscription: "To die with honor, when one can no longer live
with honor." She takes the sword and a white scarf behind a screen, and emerges a moment later
with the scarf wrapped round her throat. She embraces her child for the last time and sinks to the
floor. Pinkerton and Sharpless rush in and discover the dying girl. The lieutenant cries out
Butterfly's name in anguish as the curtain falls.
Witkin, Isaac* - Ode to Possum

Levitating bronze sounds improbable … but Isaac Witkin demonstrates the ability to
make this tradition-bound material take flight … Witkin seems capable of making
bronze do everything, but sit up and speak. - Edward J. Sozanski1
1999, cast bronze, 33 1/2" x 106" x 62"

Ode to a Possum evolved when Witkin accidentally killed a possum that was hiding in his studio.
He enclosed the bones of the animal within the metal as a tribute.
South African artist Isaac Witkin (1936-2006), who apprenticed with Henry Moore and later
moved to New Jersey, is well represented at Grounds for Sculpture with eight pieces (2009) in
several different media. Often creating organic forms, Witkin was the first artist to have a
sculpture in the park.
Nadine Witkin: "As I was reviewing the many stacks of archival press clippings on my father
since his passing, mostly strewn about the house and barn, dusty and under piles of rubble, I
found the above exhibition review from the early ‘90’s, which I’d never seen before. In it, art
critic, Edward J. Sozanski, dubbed Isaac Witkin a “contemporary master of bronze.” Indeed, until
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his untimely death in 2006, my father earned his reputation in the sculpture world as the master
magician and alchemist who could actually ‘make bronze do everything but sit up and speak,’ as Mr.
Sozanski declared so eloquently.
"My father gained recognition as the virtuoso modernist sculptor who pushed the art form and the
materials farther than anybody had. His place in history was already secure as the sculptor who first
shook up the art world in the 1960’s as a hero of the New Generation. But later, after Witkin himself
became the ‘Old Master,’ (as critic Kay Larsen called him 25 years ago) he revolutionized sculpture
yet again, daring to use materials that had great historical precedence—like bronze and later stone, in
surprising and unexpected ways, ultimately developing his own, entirely unique sculptural language.
My father took courage in Cezanne’s words, “I feel like a primitive of a new art.” Around the Johnson
Atelier, his fellow sculptors acknowledged his special powers by simply calling him “Maestro.” He
was the Mozart of sculpture.
"I would suggest that in the 15 years since Mr. Sozanski penned the magnificent review excerpted
above, Isaac Witkin had not only managed to succeed in making bronze sit up and speak, he could
even make it sing. And the two monumental bronze masterpieces that the curators at Grounds For
Sculpture lovingly hand-picked from the estate for this exhibition, Ode to a Possum and Rapunzel
Tree, speak volumes about Isaac Witkin as an artist and as a person.
"Ode to a Possum, was created as a result of one of my father’s darkest moments. One day, Dad heard
a possum scampering around the basement of his farmhouse, and he was worried it would bother his
seven cats, whom he doted on. So he took a stick and banged it around the basement door, hoping to
scare the possum and rout it out. However, he suddenly heard a strange cry, only to realize that he had
accidentally killed the possum, which was the last thing he had intended to do. Depressed and
distraught, Isaac was unable to forgive himself for having killed a living creature, albeit inadvertently;
he felt horrible about himself. He did the only thing he knew how to, which was to go into the studio
to try to resolve his anguish. There, he paid homage to his unintended victim by creating a sculpture
in its honor, Ode to a Possum, inspired by the shape of the possum’s bones—the actual bones
carefully placed inside the flowing poured bronze pieces Ode to a Possum epitomizes the kind of
gentle soul my father was, and its subject will certainly have the distinction of remaining the world’s
most famous possum.
"Four decades ago, my father wrote of his mentor and former employer, “In my opinion, no amount
of changing fashion will dislodge Henry Moore from joining hands with the great masters of the
past."3 It is my hope—and my belief—that Isaac Witkin will be similarly remembered.
"Isaac’s association with Grounds For Sculpture and its founder, J. Seward Johnson, goes back 30
years. My father often attributed his development as a sculptor to his experiences pouring bronze at
the Johnson Atelier, and it is a great honor for me to lend these important works from the estate on a
long-term basis to such a worthy and fitting home." - Nadine Witkin, Summer 2007 3
1. Edward J. Sozanski, “A Sculptor in Bronze Shows His Mastery,” The Philadelphia Inquirer, 14
November 1991.
2. Isaac Witkin, “Uitspraken over Henry Moore” Museumjournaal series 13 no. 3 (1968): 162
3. Nadine Witkin is the executrix of the estate of Isaac Witkin.
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Young, Larry - Pegasus and Bellerophon

1990-91, cast bronze, 108" x 108" x 72" See Appendix for the story alluded to bu the title. The
Greek myth about Pegasus, the winged horse, and the Corinthian hero Bellerophon tells about the
slaying of the Chimaera (fire-breathing female monster with a lion's head and a goat's body and a
serpent's tail; daughter of Typhon) and were subsequently triumphant over the many other trials
and tasks set before them. However, Bellerophon's pride and presumption eventually caused him
suffering and permanent injuries. His arrogant attempt to ride to Mt. Olympus on the steed
angered the gods to such an extent that they caused Pegasus to throw him. Young's dynamic
abstract rendering captures the horse and Greek hero, seen in the negative space of the horse's
arched neck, in a soaring ascent. But it is up to the viewer to ponder whether they travel in flight
toward a victory or Bellerophon's doom.
When Arianne Kassof discusses Pegasus and Bellerophon with tour groups, she tells them that after Zeus
had a horse fly bite Pegasus's tail, Bellerophon was thrown. Then she leaves it up to the viewers to decide
whether Bellerophon has already been thrown in the sculpture, or whether he's still on Pegasus's back in the
negative space. She always tells them there is no "right" answer. Are you sure Bellerophon is still there?
Young, Ron - Untitled

1981, Aluminum, steel, 48” x 20” x 12” Ron Young is renowned for his fascination with Pre
Colombian cultures and this fascination is clearly evident in his work. His art focuses on the
metaphor between the past and present as he has spent many years studying the Mayan Culture
and its relevance in today's society. Incorporated in Ron'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.
Ron is also the author of the two widely read books, Methods for Modern Sculptors and
Contemporary Patination. He is highly regarded throughout the world for his knowledge and use
of patinas. Some of the innovations in his work include a combination of metal and canvas. Ron
has developed a technique of applying metal to a canvas and then use only patinas to 'paint' it.
Zweygardt, Glen - Allentown Council

Pennsylvania Fox Hill granite, steel, bronze; 1993-94
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Harmony/Equator/Dorian/Tabletop IHarmony/Equator/Dorian/Tabletop I
Harmony/Equator/Dorian/Tabletop I
Anantharaman, Lalitha - Prana 7
1992, cast bronze, 6" x 53" x 31" Lalitha Anantharaman’s works are sculptural explorations of the
multifaceted nature of symbols. Material symbols often take basic, organic forms that invite both a
direct experience with the viewer as well as philosophical interpretation. These philosophical and
tactile qualities exist simultaneously, pulsating as particular aspects are brought to the fore, while
others recede but maintain their presence. The sculptures of Anantharaman embody the mechanics of
traditional symbolism; the physical forms convey a simple gestalt while her attention to surface,
texture, and the inherent character of her materials render these basic shapes and volumes “palpably
suggestive” and encourage a myriad of interpretations by the viewer. Additionally, Anantharaman
appreciates the durable yet fragile quality character of bronze, which reflects her desire to capture the
actual and the transient in and through her work.
The concave triangular form of Anantharaman’s Prana 7, is both elemental and cryptic evoking
references to the male torso, the womb, an enormous arrowhead, or a fossilized mussel shell, to name
a few. The word “prana,” is the Hindu term used to describe the auto-energizing life-sustaining force
of the individual body and the universe; prana is the source of all knowledge and the mover of all
activity encompassing all types of energy, including mental, intellectual, physical, sexual, spiritual,
heat, light, gravity etc. The simple, yet ambiguous shape of Prana 7, leaves the identity of the object
open to interpretation. According to the artist, the position activates the sculpture. Located outdoors,
Prana 7 often fills with rain water. This triangular rain catcher becomes a potent metaphor for one
entity comprising another and the body as the receptacle of the material and the sublime.
Unfortunately, the water is often more like a stagnant puddle than a metaphor. The shape is not so
much triangular as a section of an egg, adding to to symbolism of the sculpture.
Lalitha Anantharaman grew up in the Tamil Nadu region of India. She lives in India.
Beasely, Bruce - Dorion

"Bruce Beasley's works are space - enveloping and space - defining. His engagement
with spatial problems shows association with Eduardo Chillida's work, with whom he is
a friend. Beasley makes space something that can be vigorously experienced and defined
1
by mass and volume to create the impression of silence or movement." -Dr. Manfred
Fath, Director, Museum of Art, Mannheim, Germany
Appreciation: Before walking around the sculpture, notice the polished surface and the construction
out of elongated hexagons, pentagons, and triangles. The sculpture is 20 feet high and 30 feet wide.
But the sculpture is not space filling like Gossip or The Listener. Note the triangular openings that let
you see through the sculpture.
As you go around the sculpture Beasley wants you to experience its different views, different
reflections of water and light, different sensations of precarious balance, and he wants these elements
of the sculpture to recall your own unique feelings. Beasley's 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
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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.
Attitudes of Artist and Critic: Most of Beasley’s sculpture is “fundamentally abstract in nature.”
They are not intended to invoke any one thing – they are intended to invoke many things. Beasley
intends his sculpture to invoke things from your own visual memory, things that cannot be
explained or understood verbally. His intention is to immerse the viewer in an experience of
shapes that trigger feelings and sensations, but not necessarily verbal thought.
Beasley explains his motivation: “The motivation in science and art is simple: exploration in
science and art is exhilarating.”
See http://www.sculpture.org/portfolio/sculptorPage.php?sculptor_id=1000064,
http://www.brucebeasley.com
1. Dr. Manfred Fath, Director, Museum of Art, Mannheim, Germany 2. page 34 Exhibition
Catalog
Capps, Kenneth - Equator (183, 230, 301, 339, Four Works)

Removed. The assertive presence and primary form of these sculptures place them within the
sculptural traditions of Minimalism and Abstract Expressionism.
Dorrien, Carlos - Nine Muses

"The Nine Muses," 1990-97, Vermont granite, 132" x 240" x 360" This project was made over a
course of seven years. Through its title, medium, appearance, and arrangement, "Nine Muses" is
suggestive of ruins and 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 standing figures with differing degrees of recognizable feminine characteristics resemble
caryatids (Kar e ad tid, architectural support columns in the shape of a woman; Priestess of
Artimis at Caryae) found in Greek architecture, while others are more abstract, roughly hewn and
less clearly defined. In many accounts (but not all) there were nine muses in classical mythology,
all daughters of Zeus and Mnemosyne, who presided over the arts and sciences. That number, the
divine three multiplied by itself, is also symbolic of completion and eternity. Instead of a name,
each sculpture has been assigned a symbolic number based on attributes described in the study of
numerology.
1. The Nine Muses are the Greek goddesses of inspiration, learning, the arts, and culture.
According to Hesiod's Theogony, Zeus lay with Mnemosyne (ne mos a ne, "Memory")
for nine days, and she gave birth to the Muses, who rejoice in their bright dancing places
on Mount Helicon -- "nine voices united in one song." Their companions are the Graces
(See the sculpture Three Graces) and Desire, and their leader is Apollo, the god of music
and harmony.
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There was a sacred grove of the Muses on Mount Helicon which was adorned with great works of art
and a temple to the goddesses.
Name Meaning of Name Domain Symbols

Calliope The Fair Voiced Epic Poetry Writing Tablet, Stylus
Clio The Proclaimer History Scroll
Erato The Lovely Love Poetry Lyre
Euterpe The Giver of Pleasure Music Flute
Melpomene The Songstress Tragedy Tragic Mask
Polyhymnia She of Many Hymns Sacred Poetry Pensive Look
Terpsichore The Whirler Dancing Dancing with Lyre
Thalia The Flourishing Comedy Comic Mask
Urania The Heavenly Astronomy Celestial Globe
In ancient times, all learning was under the patronage of the Muses, and it was thought they inspired
poetry, music, and art. It was common for schools to have a shrine to the Muses, and any place
dedicated to them was known as a mouseion, the source of our word "museum."
When Plato founded the Academy, he dedicated a shrine to the goddesses of learning; and Aristotle's
school, the Peripatos, also possessed a shrine which contained statues of the Muses. The famous
Museum at Alexandria, founded by Ptolemy I, was a temple of learning dedicated to the Muses.
Before poets or storytellers would recite their work, it was customary for them to first invoke the
inspiration and protection of the Muses.
Dusenbery, Walter - Rocchetta

1983, grey travertine, 96" x 87" x 27." Rocchetta is an old town in Italy. Also Robiola Rocchetta (roh-
bee-OH-lah row-KEH-tah) is a type of cheese that is about the color of the sculpture.
Feuerman, Carole A. - Zeus and Hera II

2004, cast bronze and aluminum, 40" x 36" x 7" Carole Feuerman started her career as a sculptor
creating super-realist resin casts of people in everyday situations. Her ability to recreate the effect of
water on the skin made her figurative sculptures of swimmers particularly well-known. During the
mid-1990s, Feuerman’s work took a dramatic turn towards a more abstract approach to the figure.
One of her sculptures fell on her hand and caused enough injury to prevent her from being able to
render the exacting detail that her super realist work demanded. Her response was to move towards a
more expressionistic and desconstructivist mode of sculptural creation. Zeus and Hera II is an
example of this new direction, called her “map series,” because they resemble topographic maps.
Using molten metals, in this case bronze and aluminum, Feuerman pours the material directly into
molds of idealized forms of ancient civilizations, allowing her intuition and sense of play to be her
guide. The results create sculptures in iridescent shades of copper, gold, blue, and green. She calls it
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“painting with fire” and seeks to “portray the inner life of each image I create in order to capture
the passion and sensuality of my subject.”
For Feuerman, creating sculpture is a mystical experience:
“I elect an exact time astrologically to birth them. After I make them, they’re
covered in sand, and they’re uncovered at a certain time which is like a birth
time,” she says. “So, it’s a very spiritual kind of experience in doing this.” She
knows that she can achieve certain effects depending on how she pours the molten
metal. “I concentrate, kind of meditate on a feeling that I want to portray, and it
relates to the metals and how they come out. It’s interesting because I can translate
[feelings] right into the metal.”
Feuerman has created her own technique:
“I wear all this special equipment, and I’m completely protected in asbestos
clothing and gloves. I look like the tin man in the Wizard of Oz,” I had a sand pit
built for me at the foundry, so I have plenty of room to splatter the metal.
Sometimes, I drip it. It depends on the technique I want – if I want these drip
shapes or if I want splashes. And by using various metals, I get various colors
and textures. When I cover the molten bronze, I can achieve iridescent colors by
smothering the molten metal. So, it’s not just that they’re birthed at a certain time
in a ritualistic manner, but they get a beautiful patina that way which is all
natural. So, there’s no patina added.”4
Finke, Leonda - Standing Figure and Sitting Figure (two works)

Both sculptures, 1988, cast bronze Leonda Finke was given a one-person show at Grounds For
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. She believes realistic
sculptures have more interesting froms than abstract forms. She is 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. Finke also does many medals.
Grooms, Red - Henry Moore in a Sheep Meadow

94" x 138 x 92 Cast bronze but originally a less durable material. This sculpture is a tribute to the
English Sculpture Henry Moore, a friend of Red Grooms. Moore has a studio in England in the
middle of a sheep meadow.
4 http://www.copper.org/consumers/arts/2009/august/homepage.html
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Moore's head seems to emerge from one of his own sculptures. One can't help wonder about te
significance of some sheep facing Moore and others facing away from Moore. Elaine Jacob in her
talk to docents in March 2006 used the following quotations: "Whoever thought art wasn't supposed
to be fun forgot to tell Red Grooms" and "Whoever thought art was supposed to be in good taste
forgot to tell Red Grooms."
See: http://www.sculpture.org/documents/webspec/redgrooms/redgroom.shtml and
http://www.psu.edu/dept/palmermuseum/past/grooms/grooms.shtml
Hul, Petro - From the Heart & Fussballer (two works)

From the Heart, 1999 Colorado Yule marble, granite; Die Fussballer, 1997, Colorado Yule marble,
granite Die Fussballer, through its streamlined, polished form, captures the rushing, converging
energy of a soccer game when players close in on the ball. Die Fussballer shows a soccer ball
accompanied by numerous representations of legs.
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. From the Heart pays tribute to the natural world. It shows
how the earth is worked by time. In this piece the stone had a natural “hole” or break in it which he
used as his starting point.
Both pieces were created with hand tools and an air hammer in 200-250 hours. He often works on 3-4
at a time so that when he is at an impasse with one piece, he moves on to another. The legs of both
bases are old Philadelphia curbstones. The larger disk is of Colorado black granite he had made, the
small circular disk on From the Heart he made.
Hul is inspired by his interests in athletics, natural world, landscapes. (In college he studied athletic
training but ended up working as a mason with a landscaper.) Hul, using stone as a medium since the
1980s, prefers to work without first constructing a model or maquette, allowing the individual,
inherent qualities of each stone block to suggest the direction the sculpture will take.
Petro Hul's current work consists of a series of landscape-based investigations of the natural world
using stone as his primary medium. He bases these works on visual memories of his extensive time
spent hiking in the desert Southwest. These works allude to both geologic, as well as imposed events.
At a time when we surround ourselves with an ever increasing artificial environment, and separate
ourselves more and more from the natural world, Hul feels we are losing touch with something which
is ultimately necessary for our own survival.
Three small works by Petro Hull: Rabbit, Coyote, and Turtle, were used as examples in a GFS
sculpture event for blind people. Because of their abstract nature, only hinting at the animals
represented by their names, they worked produced considerable enjoyment as the blind viewers
moved their hands over the sculpture to understand their shapes. The first two of these works are
made of steatite, (Mg3Si4O10(OH)2), a massive variety of Talc with a greasy feeling, often used for
ornamental carvings.
Johnson, Jr., J. Seward - Erotica Tropicallis

Johnson’s Erotica Tropicallis is based upon Henri Rousseau’s The Dream, painted in 1910. In the
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painting, a young woman reclines on a sofa and contemplates the surrounding verdant jungle,
apparently oblivious to the danger posed by the wild creatures in her midst. According to
Rousseau, “The woman, who has fallen asleep on the couch, is dreaming that she has been
transported to this forest and is listening to the sounds of the flute player.” Johnson recreates
rhythmic patterns and overlays of shapes punctuated by varying textures and contours to preserve
the condensed spatial composition that characterized Rousseau’s original image. For the most
part, Johnson’s realistic figures and Impressionist pieces rely upon the immediate natural
environment to serve as a backdrop for the sculpture and thus share a common ground with the
viewer. Conversely, the female subject of Erotica Tropicallis exists within a compressed, exotic
dreamscape that bears a resemblance to a sculptural bas-relief, engaging visitors to participate as
a voyeur in the surreal scene. See: http://www.sewardjohnson.com/).
Kainz, Danial - Harmony 3

1993, Vermont Marble
Kelsey, Sterett-Gittings - Alexandra-of -the-Middle-Patent and Attitude

Croisée (two works)
Alexandra-of -the-Middle-Patent and Attitude-Croisee1 are made of cast registered bronze and
steel. See http://www.kelseysculpture.com.These sculptures quietly celebrate the joy of a young
girl and the ballet.
Attitude-Croisee - Cast in registered bronze in 1999 by the Polich Art Works. Attitude-Croisee
demonstrates the artist's ability to capture the movements of dance. The articulation of the body is
exquisite and true and like a living, breathing, prima ballerina, "Attitude-Croisee" appears to be
weightless.
"Personally, I have been deeply involved in painting and sculpture through "Art Holdings
International" and the "Littlejohn/Sternau Gallery" in New York City. In my opinion, Kelsey is
the first true "Master of Movement" since the death of Edgar Degas in 1917. I wholeheartedly
agree with Erwin Hauer: professor emeritus of sculpture; Yale University: who states ."When
referring to the Kelsey dancers captured in bronze . "that she does not have an equal in the world"
- Fredrick G. Sternau 1998, Waccabuc New York
The Kelsey bronzes are handmade from start to finish. This transformation from the clay original
into a bronze masterpiece is a long, exacting process. A new ceramic mold is made for each
registered bronze. This handmade mold is used only once, and then destroyed. There are 40 steps
which each sculpture passes through on the way to becoming a completed work of art. Each
sculpture bears the copyright insignia, the name of the sculptor, date of origin, edition number
and foundry mark. Only ingots of registered bronze are used in the creation of the Kelsey
sculptures. Richard Polich, the world's leading founder has worked hand in hand with Kelsey for
more than 30 years, assuring the finest quality possible in cast foundry bronze. Located in
Newburgh, New York, Polich Art Works follows the excellence of the classical traditions
embraced by Donatello, DaVinci, Michaelangelo, Rodin and of course Degas. It is here in the
foundry where each Kelsey sculpture comes to life .a very long life!
It is also noted that Kelsey is the creator of the new porcelain figurines for Royal Copenhagen in
Denmark.
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Sterett-Gittings Kelsey: To capture the Essence of Dance in Bronze, has become a purpose in my life.
To imbue each figure with an independent life; implied movements and an imagined soul, is the
challenge. I believe that Sculpture, in the hands of a master, should speak directly to the soul, as do
the most moving words of Shakespeare or the most tender notes of Mozart. - Kelsey 2006
1. Croisée Croise \Croise\ (krois), n. [F. crois? crusader, fr. OF. crois, F. croix, cross. See Cross.] 1. A
pilgrim bearing or wearing a cross. [Obs.], 2. A crusader. [Obs.], The conquesta of the croises
extending over Palestine. --Burke. Source: Webster's Revised Unabridged Dictionary, © 1996, 1998
MICRA, Inc.
Kendrick, Mel - Black Trunk

Standing almost ten feet high, "Black Trunk" was cast in bronze using a wood sculpture for a pattern
then patinated a deep black. The interior, lined with lead, is visible through butterfly-shaped notches
that resemble joints sometimes used by fine wood craftsmen. The original version of "Black Trunk"
dates from 1995 and was carved from a partially decomposed tree trunk, then cut into six sections and
stacked atop one another. Kendrick has been working in wood throughout his career and many pieces
have been transformed by casting them in bronze.
Leiro, Francisco - Skewered

1999, cast bronze, 2/2, 71 1/2" x 59" x 30" Francisco Leiro’s large, writhing bronze figure, torturously
impaled as the title Skewered describes, was recently 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.
Leiro grew up in the northern region of Spain.
Lukasova, Helena - Inua

1999, gold leaf and cement Note gold reflecting spiritual qualities in a severe cement body with a
split head, missing nipple, …
Inua, for Inuit Eskimos, refers to a sort of soul which exists in all people, animals, lakes, mountains
and plants. An Inua was sometimes personified. Inuas are metamorphic and can change shapes and
are often represented as animorphic and anthropomorphic interchangeably. Inua, a term borrowed
from the peoples of Greenland, means personification.
The larger than life-size Inua silently and humbly stands in front of the viewer with hands open,
palms forward. A nude female figure, she is seen to be timeless, no garments or hair style tying her to
an identifiable period, though the stillness of her upright stance brings to mind Egyptian and medieval
statuary. The roughly textured cement on the surface, has an interior of gold revealed through
openings in the face and hands. To the artist, gold, a precious element treasured throughout the ages,
represents the interior human spirit shining forth from the grey shell of the body.
Helena is from Czech Republic graduated from the Academy of Fine Arts and Design in Bratislava,
Slovakia.
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Marisol, - General Bronze

1997, cast and fabricated bronze, 1/3, 102" x 109" x 55" The general punctures the absurd
pomposity of traditional monuments. The sculpture recalls Shelly's Ozymandias:
…
“My name is Ozamandias, king of kings:
Look on my works, Ye Mighty, and despair!"
Nothing beside remains.
In Marisol's mocking sculpture note the carved faces in contrast with the bodies formed with
plains. Marisol depicts heroes and villains with humor and sympathy. The viewer is engaged
through her witty commentary, though after deeper consideration, an underlying serious tone
becomes evident.
The general is said to resemble General Gomez, a South American dictator who died in the 30's
or maybe Stalin. A death mask is viewable through slits in back.
Marisol has kept her focus on three-dimensional portraiture, and wood has remained her preferred
medium. Her subject matter is inspired by images found in photographs or gleaned from personal
memories. Usually details are concentrated on the face and hands--the primary instruments used
to convey expression--while bodies are still, posed and block-like in form. Generally Marisol,
Marisol Escobar, only uses her first name. There is a photograph of her on General Bronze in the
Johnson Center.
"General Plywood" served as the model for "General Bronze," which was cast and fabricated at
the Johnson Atelier. 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."
"When visiting Marisol's studio to select work for the (Spring 1997) exhibition, one of the
sculptures I wished to include was a sculpture of a seated male figure made of wood and plaster,
Portrait of My Father, 1977. When I inquired about the availability Marisol replied that she
'would miss him too much.' This comment poignantly illustrates the strong and very personal
relationship Marisol has with her sculpture and the almost autobiographical nature of her work."
Brooke Barrie, Director/Curator, "Acknowledgements," Marisol by Nancy Grove, Hamilton, NJ:
Grounds For Sculpture, 2000
Muick, Paul - Two Figure Composition

1999, white Danby marble, 53" x 50" x 36" 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 Johnson Atelier Stone Division in Mercerville, New Jersey.
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Newman, John - Brazen Sphere

…this frontal sculpture disquiets with its contrast between the perceived mathematical order of the
structure and the highly emotional, surreal central core. Viewed from a distance with a frontal vantage
point, the work is a flat trapezoid circumscribed by a circle… However, a slight shift of position
around the work causes the circle and the trapezoid to fall out of alignment; and the sides of the “box”
are revealed as curved petal-like forms and spiky folds…evoking, perhaps, a giant origami
construction. …it is the central core—a glistening red and blue lacquered sphere within an aluminum
net—that signals departure from any expected formal solution…1 ~Emily Kass
1988, cast and fabricated aluminum, 42” x 69” X 42”, courtesy of the Artist. This powerful and poetic
description by Emily Kass2, curator of John Newman: Sculpture and Works on Paper held in 1993 at
the Fort Wayne Museum of Art in Indiana, so eloquently fits the visual character of Brazen Sphere.
The title for John Newman’s sculpture is inspired by a phrase attributed to Aristotle in Hannah
Arendt’s The Life of the Mind. Whereas in Aristotle’s example, “brazen sphere” refers to the process
of soldering brass, Newman takes the meaning of brazen to imply “outlandish or brash” and likens it
to the red and blue sphere that is centrally located within the sculpture.3
Born in Flushing, New York in 1952, Newman moved to New York City in the early 1970’s. As a
result, Newman came of age surrounded by not only a heightened political and cultural climate, but
he was responsive to the various movements in art—Minimalism, Arte Povera, and Conceptual Art.
Newman began his formal art education in 1972 with an independent study program at the Whitney
Museum of American Art in New York. He attended Oberlin College in Ohio in 1973, and later,
received an MFA from Yale University School of Art in 1975. From 1992 to 1998, Newman was the
Director of Sculpture at his graduate alma mater. He continues to live and work in New York City.
Newman’s Skyhook (1998) is on exhibit outdoors at Grounds For Sculpture, and his On a Yellow Box
(2002) is part of the sculpture park’s Sculpture Along the Way program.
1. Emily Kass. “(Blue) Brazen Sphere,” in John Newman: Sculpture and Works on Paper (Fort Wayne
Museum of Art, Indiana, 1993), 18.
2. Emily Kass is the former executive director of the Tampa Museum of Art, Florida. She is currently
a consultant for the Sarasota Museum of Art.
3. Kass, 18.
Parker, Barry - Lamentation

1993, welded bronze, 102" x 30" x 34" Lamentation by Barry Parker is composed of rounded,
abstract shapes constructed from hammered bronze sheet and welded into closed forms. They are
assembled in such a fashion as to resemble a standing figure; the uppermost head-like section appears
to be thrown back with the open portion emiting a cry of anguish. Further distinguishing this
sculpture, and adding to its emotional impact, is the evidence of the process Parker followed in
creating the work. On the surface are the marks left by heating the metal, striking it, and welding the
sheets together. These marks and welded seam lines allowed to remain visible can be read as scars
further alluding to grief and pain. The book of Lamentation is in the Hebrew bible. It is a sequence of
five poems that lament the destruction or Jerusalem by the Babylonians in 586 BCE. The book opens
with:
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How lonely sits the city

that once was full of people
How like a widow she has become
she that was great among the nations!
She that was a princess among the provinces
has become a vassal.
Perlman, Joel Tabletop I

1995, steel, 81" x 32" x 40" 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.
Ruddick, Dorothy - Number II

2003, cast bronze, 13” x 54” x 25” It was in 1998 that 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. Now the artist has
changed her focus to explore the effect of drapery as it encircles the figure, using papier-mâché
swathed over forms created with polymer modeling compound. Number II is the first enlargement
in bronze from this new series.
Ruddick has described the papier-mâché 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.
Dorothy Ruddick was born in Winnetka, Illinois in 1925. As an undergraduate at Radcliffe she
studied art history at the Fogg Museum, and then transferred to Black Mountain College where
she studied with the influential artist and teacher, Josef Albers.
Segal, George - Depression Bread Line

1999, cast bronze, 2/7, 108" x 148" x 36" George Segal (1926-2000) Depression Bread Line was
cast in bronze at the Johnson Atelier Technical Institute of Sculpture 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, and, from
that work a mold was made. The sculpture in the park is the second of the edition, and the first 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 United States history and whose policies helped to
direct the country out of an economic decline towards prosperity.
George Segal, who grew up in the Bronx, moved to New Jersey in 1940 and lived in the same
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town until he passed away. He is known internationally for his white, ghost-like figures made of
plaster using a technique he had developed. The figures are often placed within environments made
with real objects, creating an eerie tableau.
The people in the lineup are: 1. Leon Bibel - artist/friend lived down the street, 2. Martin Friedman -
the former director of the Walker Art Center, 3. Donald Lokuta - George's Assistant/photographer, 4.
George, and 5. Danny Berger - worked at the Metropolitan Museum of Art.
Strong-Cuevas - Arch II
Fabricated aluminum. .
Van Tongeren, Herk - Teatro XI

Removed. 1982, cast and fabricated bronze, 1/3, 66" x 150" x 84." Herk Van Tongeren joined the
Johnson Atelier in 1976 and worked there as President/Executive Director until the time of his death
in 1987. During the span of his career, Van Tongeren served as faculty and guest lecturer at several
universities and institutions throughout North America -- Rutgers University in New Jersey, the
University of California at Berkeley, and the University of British Columbia, to name a few. Van
Tongeren admired the Surrealists, especially Giorgio de Chirico, and he studied their philosophical
ideals. This is evident in his sculpture "Teatro XI," consisting of geometrical objects lying in a stage-
like setting. Van Tongeren achieves a false sense of perspective with the placement and sizing of his
objects. There is a kind of emotional detachment the artist displays through his pieces by using one
color and geometric shapes. However, there is also a sense of idealism. One can imagine Van
Tongeren as an architect sculpting his vision of a strip of futuristic landscape.
Floyd Frank, the eminent GFS docent, often made comparisons between painters and sculptors. For
Teatro XI he would reference some of Giorgio de Chirico's work.. De Chirico, a contemporary of
Picasso, who together with Carra, developed the Metaphysical style around 1909 - 1919. Later in life
De Chirico continued his mysterious imagery in a style called Neo-Metaphysical. see Chirico in
Docent Notes, Part II
Witkin, Isaac - The Bathers

1991, cast bronze
Zinman, Rhea – Couple, Dual Form, Pillars, Reclining Woman (four
works)
The works by Zinman are very abstract. Heads of people are simple rounded shapes barely
distinguishable from the body. This makes the pieces evoke in the viewer the kinds of people in their
experience without the interference of the bias of the sculptor. Zinman's, Couple, for example, are two
elongated forms with their seperateness hinted at by a long rounded indentation between them. There
are no eye sockets or other distinguishing features. In Reclining Woman there is only a hint of breasts.
Yet the forms are unmistakable and because of the abstractness their universality is insured.
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Accardo, Anthony - Breaking Through
This sculpture is in the restaurant.
Brzezinski, Emilie Benes - Lintel

1993, cast bronze, 128" x 177" x 28" Lintel was first sculpted from the trunks of cherry trees,
then cast into bronze at the Johnson Atelier Technical Institute of Sculpture. The artist's
innovative design of wedge-shaped columns gives strength to her piece both structurally and
visually.
Since Brzezinski first started to work in wood in 1988, her focus has been to present a balance
between the inherent characteristics of the medium and the artist's hand in the process of
creativity. The artists explains: "The highlights of creative work and inspiration is the finding of
the material, which becomes my guide and also the vocabulary for the composition. As I work,
the anomalies of nature (broken off branches, cracks, hollow areas, unusual growths and burls)
are featured in the design. And process, including cutting with chain saw, axe, and chisel, is
retained as a function of surface direction or of punctuation of an area. In my work, enough of the
original trunk is maintained so that the sense of the growing tree is retained, such is my respect
for the material. My statement, contained within the primitive structure and format, would be
about the growth and survival of the tree as part of Nature."
Benton, Fletcher - Folded Square Alphabet “J”

There is nothing more beautiful to me in geometry than the alphabet.
You can find almost all of it in letter forms. Fletcher Benton1.
Folded Square Alphabet "J", 1989, painted steel, 96" x 96" x 96" Made from a single sheet of
steel and painted bright cadmium red is Fletcher Benton’s Folded Square Alphabet “J”. The
sculpture is part of Benton’s Folded Square series that he began in the 1970’s, and akin to his
preceding Folded Circle series, the works are based on the artist’s love for geometric form and
balance. Benton’s Alphabet series is also significant in that the sculptures mark a drastic departure
from the artist’s previous interest in creating kinetic works powered by battery motors; and even
further, a shift away from the two-dimensional art form - painting.
The inspiration for Benton’s Folded Square Alphabet comes from his early experience as a sign
painter in San Francisco’s North Beach area. Benton grew to develop a sensitivity to and affinity
for the shapes of letters and numbers. Keep in mind, that Arabic, Chinese, and other character sets
are commonly made the subject of art works.
See http://www.sculpture.org/documents/scmag04/june04/benton/benton.shtml for a review of his
work.
1. Benton, Fletcher - The New Constructivism of Fletcher Benton By: George Neubert, Peter
Selz, Gerhard Kolberg, Phyllis Tuchman (Lausanne, Switzerland: Sylvia Acatos, 2001)
2. The Language of Sculpture By: David Finn, Price
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Bullock, Benbow - Pillars of Hercules

Benbow Bullock's creates simplified geometric constructions in steel and painted in brilliant primary
and secondary colors. In "Pillars of Hercules"1(1995) each element composing the triptych is 8 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. Bullock's work is strongly influenced by his travels to
archaeological sites throughout the world.
1. Ships that sailed out of the Mediterranean, stopped at the straits and turned back looking at the
Atlantic's horizan, thinking they would fall off the edge, as they thought the earth was flat and not
round.
Dinnerstein, James - For Instance

A shift in the focus of sculptural form in James Dinerstein’s portfolio of work is ushered in by For
Instance, made of pigmented cement, where artistic investigation of the cupping and shaping of space
urged the opening up of the form from its previously compact state. However, the sculpture does not
stray from the artist’s body of work in its supple use of clay as a plastic medium. The smoothly
formed elements of the sculpture cleave their way through space and create a sense of unease through
their precarious placement. Allowing the horizontal to reach out and up for the vertical and then to
envelop it, Dinerstein has found a new set of sculptural problems to explore. He has stated, “It was in
For Instance, that this tense, highly compressed space became all but literally uncoiled and radically
opened out.”
Dinnerstein, James - Still Speach

2000, cast bronze, 88" x 25" x 29" Similar to Canon.
Doner, Michele Oka - Ice Ring & Radiant Disk (two works)
At the early age of 7, Michele Oka Doner came upon a Venetian grotto chair in Florida. This
observation taught her "that furniture doesn't have to be mundane." Later on in her career, Doner
created furniture, works of art which are tied closely to mythology and celestial surroundings. "Ice
Ring" represents the ice rings found around Saturn as captured in photographs by the space craft
Voyager. In the center is "Radiant Disk," incised with radial marks that attract and channel light. The
difference in surface treatments of the two works contrast references to the coldness of Saturn’s ice
rings with the bright, warmth of the sun.
These pieces are also made to serve as a table and bench. Doner believed that making the bench
round, as opposed to straight, would lend to it a more social atmosphere. Yes, you can sit down!
Farlowe, Horace - Circular Rest

1996, Georgia marble, 47" x 144" x 150 Usually consisting of asymmetrical arrangements of multiple
components, his large-scale sculptures are architectonic with lintels and benches inviting the viewer
to enter the work. The artist favors the white Georgia marble from his home state, which was the
stone selected for "Circular Rest."
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Farlowe, Horace - Portal Rest

1999, white Danby marble, 144" x 240" x 180"
Feuerman, Carol - Employee's Shower

2008, bronze, life-size. 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.”
Feuerman says that her “work inspires the viewer to look closely at what stands before them.”
She wants the viewer to “complete the story, to reflect and feel touched,” and writes that she
“explores universal feeling and emotions” and this is “all captured in a single, fragmented
moment of time.”
More information on this artist can be found at http://www.feuerman-studios.com/,
http://www.sculpture.org/portfolio/sculptorPage.php?sculptor_id=1000083
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Employee Shower - Article by Jody Kendall in Expressions, Winter 2009
“Are the stars out tonight…” Carly Simon is singing, and then another voice joins in. Following
the song, we are enticed. Then descending a few steps, coming closer, we look up to see a young
woman’s reflection in a mirror on the bath house wall. To the left of the mirror, wooden pegs are
holding “bronzed” underwear. A radio and golden slippers rest on the floor. There, in the shower,
we see the young woman is completely absorbed in her ritual of bathing. Shampoo glistens in her
hair while the shower’s continuous spray refreshes and cleanses her smooth, youthful skin. As the
soapy water goes down the drain, we imagine that the concerns of the day are flowing from her
mind, creating stillness.
Carly is now singing, “In the Still of the Night.” Sculptor Carole Feuerman is well known for her
realistic portrayal of women. Her bathers and swimmers emerge from the pool with water
droplets still fresh on their resin skin. Celebrated examples illustrating this hyper-real technique
include Olympic Swimmer, Survival of Serena, and Catalina.
Whether reflecting or accomplishing, Carole’s women seem to possess an inner spirit. Looking
inward, eyes closed, Carole’s women are timeless. The bather is ageless. Carole attended the GFS
Fall and Winter opening on October 11, and as she stood inside the “shower,” she revealed that
the figure of the young woman in Employee Shower is actually a composite of three models
combined to achieve the mind’s eye ideal. The soapy blond hair is a suggestion of J. Seward
Johnson, who commissioned this sculpture for GFS. Mr. Johnson continued to collaborate with
Carole as the work progressed, agreeing on the important musical introduction as lure to the site.
The Employee Shower environment was born through the team effort of woodworker, plumber,
electrician, and patina expert at Johnson Atelier.
But it is Carole who, with her bather, has captured and celebrated the familiar, in this moment, to
be discovered.
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Also in the park, serving as a visual contrast to Employee Shower, Carole has a work on the sculpture
pad. Entitled Zeus and Hera, it is part of her “Map Series,” created by pouring molten bronze and
aluminum into a sand cast.
zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz
D.J. I had a chance to spend some time with Carole Feuerman and she told me the song in the
Employee Shower is: “I only have eyes for you” sung by Carlie Simon.(Not sure of her spelling).
MMI: Jody's interview has "Carly is now singing, “In the Still of the Night.”"
Grausman, Philip - 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.
Hehemann, Barry - Forth of Firth of Forth

1998, steel and concrete Firth of Forth Bridge - West of Edinburgh, spanning the Firth of Forth
between South Queensferry and North Queensferry. This structure is a great undulating steel monster
rising out of the estuary that is formed by the Forth river as it slowly spreads out toward the North
Sea. "Monster" is an appropriate word, because this bridge has the looks of a beast, and the strength
to back it up. It is considered one of the strongest, most stable, and most expensive bridges in history.
That came out of necessity. The bridge was built after the span across the Firth of Tay collapsed,
killing 75 people on a train in the middle of the night. Engineers and planners needed to cross the
Forth, but had to do it in a way that would be acceptable to a public still shocked by what was then
the worst bridge disaster in history. What they came up with wasn't merely another cantilever-truss
bridge. What they put together was a marvel of Victorian engineering, and a span so overbuilt that it
barely moves in even the heaviest wind, even though a certain amount of sway is expected in most
large structures. This is achieved by using steel plate tubes with internal braces. The most stout of
these building members are 12-feet in diameter. Its nearly exclusive use of steel, combined with its
latticework appearance have made some people refer to it as the "Eiffel Tower of Scotland."
 1883 - Construction begins on the bridge 4 March,
 1890 - The then-Prince of Wales drives the last rivet into place. It was gold plated and is
inscribed. He would later go on to become King Edward VII.
 57 people lost their lives building the Forth of Firth bridge.
 The bridge is held together by nearly 7,000,000 rivets.
 The bridge is made from 54,000 tons of steel.
 The bridge is made from 194,000 cubic yards of granite.
 The bridge is made from 21,000 tons of cement.
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 The bridge rests on three piers, 70-feet in diameter.

 Each of these piers descends up to 90 feet into the earth before resting on bedrock.
 The bridge is designed to stand up to wind forces as high as 56 pounds per square foot.
Henry, John - Reclining Refuge

Henry’s linear, assembled steel sculptures cut through space in a dynamic fashion. In many of his
works, energy moves from the center of the composition, where long narrow elements overlap,
and radiates outward. The illusion of precarious balance achieved through the carefully thought
out placement of a limited number of rectilinear forms adds to the sense of arrested motion.
Calling upon his engineering knowledge, Henry is able to construct his pieces to appear to float,
as if the elements were immune to the laws of gravity, touching each other by chance and not by
force. Many sculptures by this artist are commissioned for public sites, and thus he designs these
sculptures to interact appropriately with their environs, choosing materials and finishes
accordingly. Even though they share basic characteristics—simplicity of form, linear elements,
and limited range of color, for example— over the years Henry’s work has developed through
nuances of change and refinement of details.
Henry's sculpture has been described as huge welded steel drawings. He arranges linear and
rectilinear elements that appear to defy gravity and float. Many suggest a moment of arrested
motion where flying or tumbling elements are frozen. There is a simple elegance and an
unexpected sense of immediacy and lightness in his work.
Henry was a founding member of ConStruct, the artist-owned gallery that promoted and
organized large-scale sculpture exhibitions throughout the United States. Other founding
members include Mark di Suvero, Kenneth Snelson, Lyman Kipp and Charles Ginnever. Mr.
Henry continues to curate exhibitions in the United States and in Europe, drawing on his
nationally recognized expertise regarding sculptors and their work.
See http://www.johnhenrysculptor.com and http://www.sculpture.org/portfolio/sculptorPage.php?
sculptor_id=1000086
Hostetler, David - Summertime Lady

1999, cast bronze, Glasurit5 finish; AP 116" x 32" x 24" The brilliant red and rich black
"Summertime Lady," stands in the reflecting pool next the Museum Building. The sleek, willowy
figure in her clinging scarlet gown is abstracted to highlight the essence of feminine allure and
sophisticationHostetler'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.
Ikenson, Seymour - Spider

1988, painted welded steel, 168” x 96” x 96” The fabricated steel sculpture by Seymour Ikenson
looms ominously overhead ready to frighten anyone with a predilection towards arachnophobia.
5 Glasurit provides a glass like finish that was developed for automotive bodies.
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Spider, with it’s glossy black surface and pointy fangs is easily recognized as the image of an
abstracted spider. The five curving legs begin as large flat steel pieces and then extend to the ground
by way of metal struts that create an architectural structure. Viewers will also notice the resemblance
to the stabiles of Alexander Calder in its scale and use of bolts as both fasteners and visual stimuli.
Johnson, J. Seward - Designated Coachman

2001, cast aluminum. After Van Gogh's The Tarascon Stagecoach. Van Goth's painting is at the
Princeton University Art Museum.
Johnson, J. Seward - La Promenade

After Paris Street, Rainy Day by Caillebotte*, 1877
This sculpture is after a small part of Caillebotte's famous painting. It is worth noting the following
details about Caillebotte's private collection because they illustrate the times of the impressionists and
the difficulties they faced and how some of the works came to owned by the Barnes Collection.
In his will, Caillebotte donated a large collection to the French government. This collection included
sixty-eight paintings by various artists: Camille Pissarro (nineteen), Claude Monet (fourteen), Pierre-
Auguste Renoir (ten), Alfred Sisley (nine), Edgar Degas (seven), Paul Cézanne (five), and Édouard
Manet (four).
At the time of Caillebotte's death, the Impressionists were still largely condemned by the art
establishment in France, which was dominated by Academic art and specifically the Académie des
beaux-arts. Because of this, Caillebotte realised that the cultural treasures in his collection would
likely disappear into "attics" and "provincial museums". He therefore stipulated that they must be
displayed in the Luxembourg Palace (devoted to the work of living artists), and then in the Louvre.
Unfortunately, the French government would not agree to these terms. In February 1896, they finally
negotiated terms with Renoir, who was the will's executor, under which they took thirty-eight of the
paintings to the Luxembourg. The remaining twenty-nine paintings (one was taken by Renoir in
payment for his services as executor) were offered to the French government twice more, in 1904 and
1908, and were both times refused. When the government finally attempted to claim them in 1928,
the bequest was repudiated by the widow of Caillebotte's son. Most of the remaining works were
purchased by Albert C. Barnes, and are now held by the Barnes Foundation of Philadelphia.
Forty of Caillebotte's own works are now held by the Musée d'Orsay. His L'Homme au balcon,
boulevard Haussmann, painted in 1880, sold for more than $14.3 million in 2000.
Johnson, J. Seward - On a Poppied Hill

1999 After Monet's two paintings Woman with a Parasol - Madam Monet and her Son, 1875 and
Field of Poppies, 1866
"I'm working like never and at new attempts, figures in the open air as I understand them, made like
landscapes. It is an old ream that still worries me and that I want to fulfill once and for all; but it is
hard !" - Claude Monet
With Manet's assistance, Monet found lodging in suburban Argenteuil in late 1871, a move that
initiated one of the most fertile phases of his career. Impressionism evolved in the late 1860s from a
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desire to create full-scale, multi-figure depictions of ordinary people in casual outdoor situations.
At its purest, impressionism was attuned to landscape painting, a subject Monet favored. In
Woman with a Parasol -- Madame Monet and Her Son his skill as a figure painter is equally
evident. Contrary to the artificial conventions of academic portraiture, Monet delineated the
features of his sitters as freely as their surroundings. The spontaneity and naturalness of the
resulting image were praised when it appeared in the second impressionist exhibition in 1876.
Woman with a Parasol was painted outdoors, probably in a single session of several hours'
duration. The artist intended this to look like a casual family outing rather than an artificially
arranged portrait, using pose and placement to suggest that his wife and son interrupted their
stroll while he captured their likenesses. The brevity of the fictional moment portrayed here is
conveyed by a repertory of animated brushstrokes of vibrant color, hallmarks of the style Monet
was instrumental in forming. Bright sunlight shines from behind Camille to whiten the top of her
parasol and the flowing cloth at her back, while colored reflections from the wildflowers below
touch her front with yellow.
This masterpiece epitomizes the Impressionist concept of "the glance". It triumphs wonderfully in
conveying the sensation of a snapshot in time, a stroll on a beautiful sunny day. The brushwork,
feathery splashes of pulsating color, is critical in establishing this feeling of spontaneity. The
portrayal of sunlight and wind also contributes to the movement in the scene. It is difficult to tell
where the wispy clouds end and the wind-blown scarf of Mrs. Monet begins. The spiraling folds
of her dress are a physical embodiment of the breeze that can be discerned fluttering across the
canvas. The sunlight, coming from the right, provides a vigorous opposition to the wind blowing
from the left. The wind and sun coalesce to form a swirling vortex in the center of the canvas,
beginning with the bent grass blades and twisting through the white highlights at the back of the
dress to the tip of the parasol. A singular aspect of the painting is the strong upward perspective.
The view from below succeeds in silhouetting the figures against the sky, which intensifies the
dynamic effect of sun and light. By depicting his son only from the waist up, Monet imparts a
sense of depth to the setting. If this figure is covered up, the picture flattens to the extent that Mrs.
Monet appears to be walking a grass tightrope, with the parasol now required to maintain her
balance. Once Monet has outlined his figures precariously against the sky, he then anchors them
firmly with color and line. The green underside of the parasol binds forcefully with the green of
the hillside. The strong line of the handle leads the eye up to the green of the parasol and then,
like a lightning rod, pulls the viewer back to the corresponding green of the grassy hillside.
Shadows in the grass continue to draw the eye until it is anchored at the bottom of the canvas.
Monet has achieved an exhilarating contrast between the swirling wind, clouds and light and the
solid foundation of the hillside, with the figure of Mrs. Monet connecting the two.
From http://artchive.com/artchive/M/monet/parasol.jpg.html and
http://artchive.com/artchive/M/monet/parasol.jpg.html.
Johnson, J. Seward - Part of Nature

2000, After Renoir's After the Bath, 1890. 56 - 57
Johnson, J. Seward - Pondering the Benefits of Exercise

Pondering the Benefits of Exercise is based on The Rower’s Lunch, 1880 by Pierre-Auguste
Renoir (1841-1919). It is another in Johnson’s series which allows the viewer to enter into an
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iconic work of the Impressionist period. In the sculpture, as in the painting, a trio enjoys a leisurely
lunch in an open air café, while in the background boaters pass by. The mood is hazy and romantic,
with a feeling of idle relaxation. Through his title, Johnson suggests the focus of the conversation as
being about the moment, and about an activity that has either just been completed, is about to be
undertaken, or may never actually occur.
Johnson, J. Seward - Sailing on the Seine

After Argenteuil, 1873 by Manet Musee des Beaux-Arts de Tournai (Belgium); 1874 Height: 151.76
cm (59.75 in.), Width: 114.94 cm (45.25 in.)
Joan Schornstaedt: "One of the boats is named “Seward’s Folly”. Is that referenced to Seward
Johnson or the Alaska purchase?"
Johnson, J. Seward - There My Little Pretties

cast aluminum, 1999
Johnson, J. Seward - Were You Invited?

After Renoir's Luncheon of the Boating Party, 1880 - 81, Phillips Collection, Washington. Note hand
on the knee, touch beneath the table, etc which are added by SJ. In this specially designed and
landscaped environment, viewers can actually step into the scene and mingle with the diners. In
addition to the members of the Impressionist’s boating party are four figures seated around another
table at the far end of the tableau.The party crashers are: Philip Bruno (gallery owner), SJ, Red
Grooms, Bill Barrett (his sculpture, Efflorescence, is in the park by Baruch Ashem), and Andrzej
Pitynski (Pitynski has two sculptures on the road coming to the park - The Partisans and Spirit of
Freedom. Both are very large sculptures. The first is a group of horsemen the second is a lone
horseman with a large head dress. SJ also has two along-the -way: The Tooth and First Ride). A
dashing character in period costume brandishes his cane and addresses those at the table asking, Were
you invited?, Phillip Bruno, collector and art gallery director, posed for this gentleman keeping out
the party crashers.
As he often did in his paintings, Renoir included several of his friends in Luncheon of the Boating
Party. Among them are the following:
• The seamstress Aline Charigot, holding a dog, sits near the bottom left of the composition.
Renoir would later marry her.
• Charles Ephrussi—wealthy amateur art historian, collector, and editor of the Gazette des
Beaux-Arts—appears wearing a top hat in the background. The younger man to whom
Ephrussi appears to be speaking, more casually attired in a brown coat and cap, may be Jules
Laforgue, his personal secretary and also a poet and critic.
• Actress Ellen Andrée drinks from a glass in the center of the composition. Seated across from
her is Baron Raoul Barbier.
• Placed within but peripheral to the party are the proprietor's daughter Louise-Alphonsine
Fournaise and her brother, Alphonse Fournaise, Jr., both sporting traditional straw boaters and
appearing to the left side of the image. Alphonsine is the smiling woman leaning on the
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railing; Alphonse, who was responsible for the boat rental, is the leftmost figure.
• Also wearing boaters are figures appearing to be Renoir's close friends Eugène Pierre
Lestringez and Paul Lhote, himself an artist. Renoir depicts them flirting with the actress
Jeanne Samary in the upper righthand corner of the painting.
• In the right foreground, Gustave Caillebotte wears a white boater's shirt and flat-topped
straw boater's hat as he sits backwards in his chair next to actress Angèle Legault and
journalist Adrien Maggiolo. An art patron, painter, and important figure in the
impressionist circle, Caillebotte was also an avid boatman and drew on that subject for
several works. \
See http://en.wikipedia.org/wiki/Luncheon_of_the_Boating_Party
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From the article by Brian A. Oard, creator of the literary blog Mindful Pleasures at
http://sites.google.com/site/beautyandterror/Home/lure-of-lotus-eating. His email address is
baoard@aol.com.
Among the Impressionists Renoir can be singled out as the supreme hedonist, the great painter of
casual pleasures, of people doing little or nothing and doing it beautifully.
Luncheon is above all a celebration of good company, good food, good wine and good nature–
with all the connotations of that last phrase. We are in a place where both nature and human
nature are calm and gentle; there’s no room for psychological darkness in Renoir’s monotonously
sunny world. The setting is a restaurant on an island in the Seine at Chatou, a few miles outside of
Paris (the river is visible in the upper left background). This is the heart of Impressionist leisure
land: not far upriver is the sailing center of Argenteuil, immortalized in the paintings of Monet,
Manet and Caillebotte; just downriver is the swimming place of La Grenouillère, where Monet
and Renoir inaugurated the Impressionist era in 1869. Rowing was the main attraction at Chatou,
and Renoir’s diners wear the straw hats and blue dresses that were the fashionable boating attire
of middle-class Parisian daytrippers. For like much of Impressionist painting, this is a completely
bourgeois image with no other classes in evidence. It is a scene of the triumphant bourgeoisie
celebrating an appropriately commercialized version of the fête champêtre 6 in a place that was
once a playground of the aristocracy. By 1880, nearly a century after the Revolution, the French
middle classes were comfortable enough to party like aristocrats.
In some of his works prior to Luncheon of the Boating Party–I’m thinking particularly of the
Rower’s Luncheon at the Art Institute of Chicago–Renoir creates visions that are almost too
lovely. He combines extremely loose, sketchy brushwork with a light that seems to infuse the
canvas and glow out from within for a total effect that is so powerful, so intoxicating, that the
technique threatens to overwhelm the subjects; the vigorous brushstrokes and vibrating colors
6 A Fête champêtre was a popular form of entertainment in the 18th century, taking the form of a garden
party. This form of entertainment was particularly popular at the French court where at Versailles areas of
the park were landscaped with follies, pavilions and temples to accommodate such festivities.
A fête champêtre is very similar to a Fête galante although this term is generally more confined to the
idealistic fête champêtre as depicted in art.
A famous painting, dated to ca. 1510 and variously attributed to Giorgione, Titian, and Sebastiano del
Piombo, was named Fête champêtre after it became part of the Louvre collection.
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clash with the scene’s depiction of leisurely repose. But the Boating Party presents no such
difficulties. Here Renoir turns down the volume, adopting a more traditional linear style, especially
for the man in the right foreground. In addition to accommodating the casual mood of the piece and
giving our eyes a bit of a rest, Renoir’s more linear brushwork sets off by contrast the work’s loosest
and most beautiful passage, the large still life on the foreground table.
Renoir emphasizes the importance of the tabletop by elaborately framing it with people and chairs
and echoing its rectangular shape in the railing, canopy and surrounding foliage and even in the shape
of the painting itself. The table is both an open door leading us into the Boating Party and the
culmination of the entire work, the centerpiece of Renoir’s banquet. It is the beating heart of this
painting, the place where the work comes alive as it passes from pleasingly pretty to astonishingly
beautiful.
Immediately we notice that the line between still life and figures is far from clear-cut. Indeed, Renoir
encourages us to see the two women at the table as part of the still life ensemble. They both lean on
the tabletop while the three nearest men are pointedly separated from it, suggesting that for Renoir
women are essentially decorative creatures, beautiful ornaments in the garden of pleasure. (Lest this
damn the painter, let it be said that his men are hardly more complex; anyone seeking psychological
depth should look elsewhere.) These two ornaments in blue frame the still life at its opposite corners.
Renoir’s future wife Aline (the woman with the dog) wears on her hat a fiery burst of orange-red
flowers that is itself a lovely still life, glowing brilliantly against the man’s white shirt just as the
other objects shine out against the white tablecloth. The very dark blue of Aline’s dress is picked up
by the grapes in the compote and the wine in the center bottle. Similarly, the lighter blue dress of the
other woman (actress and model Ellen Andrée, looking much more attractive here than in Degas’s
Absinthe) is matched by the subtle blue shadows around the glasses crowded together near the center
of the table. Even Aline’s dog is carefully harmonized into the color scheme, its decidedly dull, non-
Impressionist coloring rhyming with that of the bottle to its immediate right. A wonderful creation of
visible brushstrokes, the dog reminds me of the cats that slink across the table in a few of Chardin’s
still lifes. It’s not a terribly unusual element, and its presence, even on the pristine tabletop, doesn’t jar
us. Like all of nature in Renoir, the dog is pleasant and tame.
The upswept tablecloth and angled forearms of the nearest people carry us into the still life. The
empty glass near Aline’s arm is a kind of overture to Renoir’s masterful renditions of glassware
throughout the painting, his bravura imitations of the play of light and color, of transparency and
opacity. At the left edge of the glass, Renoir places a few streaks of light blue, showing us how the
color of Aline’s sleeve is affected by its passage through the white reflections on the glass, producing
a hue very close to that of the sunlit water in the background. What really brings this glass–and all the
glasses on the table–to life, however, is Renoir’s use of impasted white highlights. Thick, heavy dabs
of pure white, like the one at the bottom of this first glass, unexpectedly create an effect of lightness:
that beautiful, shimmering, vibrating quality that energizes the tabletop and makes the adjective ‘still’
a misnomer for this kind of life.
Leaving this first glass, my eyes are drawn up to the compote, a form that, due to its upward sweeping
brushwork, seems like an emanation of the tablecloth, a section of the soft cloth that has risen up and
hardened to porcelain. This is appropriate, for in addition to being a symbol of abundance and
fertility, overflowing with fruit, the compote is a visual metaphor for the table as a whole. A white
form on which a still life is raised and centered, the compote is a key to understanding the deep
relationship between the composition of the tabletop and that of the painting’s human figures. These
two compositions that seem so casually independent are in fact elaborately and beautifully rhymed.
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Part of Nature/Rats
The cluster of glasses to the right of the compote suggests the six figures crowded into two
triangular groups on the painting’s right side. The geometric group of wine bottles parallels the
intricately interlocked triangles formed by the people at the middle of the painting, a relationship
driven home by the witty formal rhyme of the red corks on the two rear bottles with the tophat
and cap worn by the two men at the back of the terrace. Even the lone wine bottle displaced to the
left might represent the girl who leans on the railing, somewhat detached from the other figures.
Finally, the goblet and wineglass in the foreground, together yet separate, parallel the relationship
of Aline and the man standing behind her. And even as this glassware is arranged around the
compote like the people around the table, the green and blue tones on the bottles pick up the
colors of the surrounding foliage, water and sky. In a very real sense, the whole painting is right
here on the tabletop.
In the painting, there is a group of overlapping glasses. If a paint surface can be described as
‘delicious,’ this is it. We enjoy it like food, like wine. The brushwork is incredibly loose and
sketchy, each glass a mere outline brought to life and given volume by Renoir’s kinetic
brushstrokes and those everpresent white highlights. Close up a few touches of red paint put a
little wine in the bottoms of the glasses. When we back up a few feet, the brushstrokes resolve
into form, but they remain active, alive and sparkling with color and light. See how the sculpture
imitates these brushstrokes.
This loose and obvious brushwork is the only kind of work shown in Renoir’s leisurely painting,
and it shimmers out toward the viewer with the power to overturn the entire image. This is where
the painter gives us an opportunity to pull back the curtain and see the mechanics behind his
illusion, the careful painterly work that underlies all this carefree play. It is a reminder that the
entire large painting is but a construction of pigment and brushes, and that even the most solid-
looking things, like the arm of the man in the right foreground, are as insubstantial as the sketchy
glasses near his hand. Like the leisure activity it portrays, Renoir’s painting is an elaborately
conceived and constructed thing. Both the activity and the image are characteristic products of
bourgeois society, designed to distract viewers and participants from the mundane realities of life
in this new world.
Work. That’s the dreary four-letter word Renoir is trying to hide. And its concealment may
explain the conservative turn in Renoir’s painting during the 1880's. His loosest Impressionist
brushwork simply showed too much, gave too much away. It was a disruptive, destabilizing force
with the power to crash his carefully created dreams.
Work is also one of the realities that Renoir’s characters are escaping. We are witnessing the birth
of the modern leisure industry, when the bourgeoisie branched out into the countryside to profit
from people escaping their dismal cities. Renoir’s people are clearly enjoying themselves, but we
should not forget that their pleasure depends on suppressing any thoughts of that other life back
in the city. A difficult feat, perhaps, given that in the distant background, partly hidden by the
restaurant canopy, we can see a railroad bridge that crosses the Seine and connects this island
with Paris and reality. Needless to say, none of Renoir’s diners are looking toward the bridge.
In other words, the pleasure depicted in this painting is based on not thinking too much. I suspect
that a viewer’s pleasure depends on the same principle. To fully appreciate Renoir, one must be a
bit of a lotus eater. In Luncheon of the Boating Party the painter works his magic and transforms
paint into wine, a powerful intoxicant, pure pleasure; and we must put our urge to deconstruct in
abeyance and allow ourselves to simply (or complexly) enjoy. We should accept Renoir’s
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invitation and enter his world, practice the art of enjoyment. There’s plenty of wine left in the bottles,
and they’ve saved a place for us at the table. The power of this painting is the power of pleasure. The
point is to enjoy it, to drink it in.
zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz
Lash, Jon - Innocence
This sculpture is in the restaurant.
Menna, Joseph - Daphne

Based on the Greek myth about Daphne (See Appendix - Daphne). This sculpture is in the restaurant.
Mena is a master coin designer for the US Mint.
Ogden, Linda M. - Torso

1993, Portuguese pink marble, 62” x 20” x 15” Located outside the entrance to Toad Hall Shop &
Gallery, the luscious female form of Torso by Linda M. Ogden emerges from the marble in a manner
reminiscent of the Michelangelo "Slaves" or Neri's Untitled Marble sculpture in the water Garden. An
edge of the pink marble is left polished and block-like before the marks of the artist’s carving tools
lead rhythmically into the smooth contours of the body. The torso itself appears like a Roman statue
that has survived through the years, and captures a feeling of motion as it raises one leg as if walking.
The pink of the marble is lighter at the base, where the artist says she began carving, and gradually
becomes deeper in hue as it moves upwards. The gray veining found in the marble serves to enhance
the form, making it seem almost alive. The block of green marble that sits under the torso elevates it,
and complements its color. Ogden was studying sculpture in Italy, when she found the beautiful
column of pink Portuguese marble. As soon as she laid eyes on it, the form came into her mind, and
she set to work creating a figure that felt natural, soft, and an extension of her exploration of her self.
As a child growing up in her grandparent’s home, Ogden was encouraged to create art, but did not
pursue a fine arts career until many years after motherhood, college, and careers in marketing, public
relations, graphic design, and illustration. Eventually she began to search for a way to express herself
and to create. She took several sabbaticals from her job in order to study marble carving in Italy with
some of the finest artisans in sculpture. In 1995, she was able to dedicate herself to studying sculpture
full-time in Italy, and spent five years there exploring different methods and mediums, as well as
developing “a deeper sense of self and self-expression.” In 2000, Ogden came to the Johnson Atelier,
first as an apprentice and then as a staff instructor in the Modeling and Enlarging department where
she is currently employed. She has exhibited in Pietrasanta, Italy, at the Extension Gallery in
Mercerville, New Jersey, and at the Greensboro Arts League in Greensboro, North Carolina. Her
works are in private and corporate collections in the United States and in Europe.
Perlman, Joel - Southern Star

1989, steel, 122” x 60” x 40” 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. 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
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Part of Nature/Rats
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.
Shaffer, Mary - Forth

1994, Pennsylvania granite, steel. A cylindrical metal core, crowned by a cruciform structure that
recalls both a plug and a propeller, is surrounded by roughly hewn sections of Pennsylvania
granite. Broad at the base and tapered toward the top, the stone slabs attempt to encase the
machine-made steel elements, creating a dynamic tension between upwards propulsion and
gravitational pull, compression and expansion, positive and negative masses.
Shaffer’s work in every medium reveals a fascination with the effects and manipulation of
viscosity, leverage, balance, inertia, mass, and space. A recurring theme is one in which she
marries the glass with discarded metal tools selected from a pile in her studio. Sheets of glass are
heated into a plastic state, then allowed to slump, or sag, over sections of the tools or minimal
geometric forms. The hot glass is cooled, arresting the fluidity, producing a folded or gracefully
draped state more akin to fabric. See http://www.maryshaffer.com/
Van Alstine, John - Juggler

1993, fabricated aluminum, brushed
Warner, Dona - Sometimes Wander

In the restaurant.
Wertheim, Gary - Kneeling Woman

In the restaurant.
Wright, Autin - Regina

2003, cast fiberglass, 96” x 168” x 72”. Regina joins three other sculptures in the park by this
artist: Free Form III, 1998; Kordell, 1998; and The Sleep, 1996 .
Although his earlier work in the sculpture park used marble and aluminum, Autin Wright has
always been open and experimental with diverse materials. For Regina, the artist has
experimented with a new process for creating sculpture using epoxy-coated foam and cast
polyester to produce this blue-green sculpture. The entire process took nearly five years as the
artist moved from concept to completion. It began with hundreds of drawings using floral shapes
as inspiration. Where the organic form of Free Form III is based on the leaves of a tulip, Regina is
based on petals. The next step was to model in clay in order to further refine his vision for the
final curving and enveloping form. About the work, he says, “I’m interested in simple, basic
forms. I always try to keep the forms to the minimum needed for the statement I want to make.”
At night, interior illumination transforms the sculpture, making it translucent, and activating the
surface to show the mark of the artist’s hand. Wright worked closely with J. Seward Johnson, Jr.
in selecting the color, scale, and placement of the piece. According to Wright, titles are necessary,
but not integral to the understanding of his work, and so like Kordell, located in the Bamboo
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Courtyard, this one is named for an important person in his life.

Autin Wright, who is originally from Kingston, Jamaica, has been a staff member of the Johnson
Atelier Technical Institute of Sculpture since 1993, where he is currently the technical supervisor for
Paint and Patina. In 1985 he earned his Fine Arts and Art Education Diploma from the Edna Manley
School of Visual Art in Kingston, Jamaica, and then moved to the United States to attend school at the
Connecticut Institute of Art, in Greenwich, Connecticut, graduating in 1991. He has participated in
several group shows since then, and most recently his work was on view along with other artists from
the Johnson Atelier in Philadelphia, at the 3rd Street Gallery on 2nd.
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Along the Way
Along the Way

Sculpture Along the Way has been an ongoing partnership between Grounds For Sculpture and
local area businesses, government and private property owners in Hamilton since 1999. It was
established to herald the location of the sculpture park as well as the advent of the new Hamilton
Rail station. The program has placed over 20 sculptures in the surrounding community in
furtherance of the Grounds For Sculpture’s mission to extend awareness of contemporary
sculpture. By placing artworks outside the traditional context of a museum, Grounds For
Sculpture provides increased public and community access to today’s sculpture, breaking down
barriers while providing artists with a unique opportunity to exhibit their work. In this way public
art becomes a more vital part of everyone’s daily lives because it exists where people work and
live. Sculpture Along the Way official reception and tour was in 2001. Strictly speaking, Head -
to - Head, by Martini is not part of the Sculpture Along the Way program.
Sculpture Along the Way serves the community by bringing art into the purview of commuters,
allowing the benefits of creative expression to be a part of daily life. Sculptor and Founder of
nearby Grounds For Sculpture, Seward Johnson, notes, “I think it’s a wonderful opportunity for
commuters and visitors to the area to have the vista of large scale sculpture-works heralding the
way to the park. We hope that the monumental pieces will act as guideposts and invitations,
ushering art viewers to Grounds For Sculpture for a multi-sensory experience”.
The Sculpture Foundation, Inc. is a not for profit organization dedicated to providing exhibitions
and contemporary landmark public artworks for communities. The organization is opening doors
to initiate arts education and to encourage the appreciation of public artwork. The Foundation’s
Curator, Paula Stoeke, notes “One crucial purpose for Public Art is to iitiate dialogue within
communities. Any placement of art in a park, or along the streets, brings with it the gift of
inspiration and visual stimulation.
Aside from the GFS program, there are additional sculptures at the train station that are worthy of
note:
Lynds, Clyde - Transit (ATW)
60' x 10' x 10' Not part of the GFS Program. This is a prominent sculpture in front of the
train station. Lynds has a wide variety of sculptures . See http://clydelynds.com for details
and http://clydelynds.com/publicart_popup_transit.html for more information about
Transit.
Kaslow, Lisa - Progression (ATW)
10 Kinetic sculptures on columns 12' high. The ten brightly colored lights that interact
with the moving air currents caused by the motion of the trains. See
http://www.kaslowpublicart.com. For Kaslow Public Art is the fusion of architecture,
community, history, and artist's vision.
Grygutis, Barbara - Railgate (ATW)
Railgate 1998 25’H x 70 ’W x 20’D Aluminum/Light Railgate is the portal to the

Hamilton light rail station south of Princeton, New Jersey. The sculpture is transparent,
providing a view of the skeletal structure of the work. It is illuminated from within at
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Along the WayAlong the Way
night.
Alston, Littleton – Tree of Life (ATW)

Stainless steel, mild steel, 1998. Going from the stable base upwards, the sculpture moves too a flurry
of flowing organic forms at teh apex. The artist designed teh composition to illustrate a development
from the laws of geometry to rapture, from order to a realm of chaos that nonetheless resonates with
harmony in an organic sense. Alston has referred to this metaphor as a journy through life.
Littleton explains Tree of Life:
“The Tree of Life moves from the geometric to the organic. It begins with a pyramidal shape and
folds out like origami. Each branch folds out into leaflets. There is a merging of the hard angle with
the soft curve. When that happens you begin to see the growth of the piece. It’s reached its potential
to become a purely organic shape.
“The work is constructed as a progression from mild steel to stainless steel. Mild steel is the steel of
the 19th and 20th centuries. It’s the steel of boats, and bridges, and the steel that made the United
States an international power in the 20th century. In ‘The Tree of Life,’ that steel is married to
stainless steel. Stainless is the steel of the future, the ‘new’ steel, the steel that doesn’t tarnish or rust.
The steel of the past transforms into the steel of the future.
“The Tree of Life moves from measure (or meter) to rapture. In the geometric base there is incredible
harmony, a familiarity, a predictability that can nonetheless be complex. We know that each line will
form a shape. That known is the expected. In the realm of this understanding lies a greater sense of
the unknown. Beyond the base it becomes less measured. You’re entering a relationship just recently
discovered – the realm of chaos. Within this chaos lies an extreme harmony where the organic
resonates.”
From www.creightonmagazine.org/files/Fall_1998/Window_F98.pdf . This reference also contains an
interesting article on Witches.
Bell, Larry – Sumerian figures 14 and 23 (ATW)

Removed. Cast bronze. These elongated, abstracted figures came from a series of 24 that were used to
illustrate a fictional history of a Sumerian city. Bell wrote a fictional account of this city assigning his
figures specific roles.
See http://www.larrybell.com/
Benton, Fletcher - Wheels

steel
Cemin, St. Clair – Hood Ornament (ATW)

Cast bronze 1996, 1 of 3 The word “ornament” in the title conveys the pathways of statuary,
ornamentation, celebratory monuments, etc. that interest Cemin because of the richness of their
imagery. The title , of course refers to the decoration found on the hood of cars. The sculpture was
made at the Johnson Atelier from a full size model made of cardboard and hydrocal, a durable plaster
like material.
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Gordan, Harry H. – Ghat (ATW)

Vermont marble 1996. Made from two large blocks of marble with hand tools and finished by had
to create a variety of carved and polished surfaces. Ghat is a Hindi term that refers to a flight of
stairs leading to a river. A hole drilled at the top allows for rain to cascade down.
Henry, John – Grand Rouge (ATW)

Welded and painted steel 1998. This large sculpture is more typical of Henry's work then the
sculpture Reclining Refuge in GFS. The large vertically oriented sculpture has a finely balanced
tension between its crossing members.
As the aptness of the phrase "drawing in space" suggests, the aesthetic of assembled sculpture is
essentially pictorial. It involves illusions, typically, of lightness and stopped motion. For many
years John Henry's large-scale public works have had a distinctive and seemingly similar
appearance. His signature pieces are disbursed throughout the world in public, private and
museum collections.
Most recently his work has become less uniform in regard to color and shape allowing for a more
varied and flexible approach to specific sites. He is presently building a series of works which are
suspended from above as well as pieces which are both large in scale and extend out from the
surface. There has also been significant change in his large scale free standing works which
continue to push the envelope of engineering.
The use of automotive finishes as well as traditional gold and palladium gilding has also
contributed to an expanded vocabulary within Henry's formal approach to sculpture. John Henry's
sculpture is designed, engineered, fabricated and erected by his own organization. He has a long
track record extending more than 30 years of successful projects with local, state and federal
governments.
He is particularly sensitive to issues of appropriateness when working in the public arena. His
experience in building works which interact with architecture and the environment is well
documented. The selection of materials and finish in Henry's sculpture is governed by the
individual project requirements which assure structural integrity and minimum maintenance.
Numerous site visits and interaction with community citizenry is an integral element in his
conceptual development of the design process.
“Beginning in the mid 1960’s a group of young Chicago sculptors began to forge a new American
sculpture from the iron-tough aesthetics of Constructivism and the industrialized cerebrations of
the Bauhaus. Chicago sculpture became the unique melting pot where the internationalism of
European Modernism could alloy with the singular balance of populism and individualism that
marked the heartland of American enterprise. John Henry emerged as the leader of this group.
The fledgling sculptor’s special vision was to unlock the potential of this unique situation. His
fledgling status quickly disappeared. Within only a few years Henry had reconfigured
Constructivism’s formal grammar into monumental fabrications distinguished for their melding
of Abstract Expressionism into architectonic construction. Before the close of the decade of the
1960’s, this young painter had learned to translate his expressionist bolts of color – and the
Abstract Expressionists’ oft-cited belief in an heroic individualism – into beams of steel
crisscrossing a prairie sky. He had dissembled the architectonic beams of the city and re-
expressed these as gigantic lines of color on the canvas of that sky. As a result of John Henry’s
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innovative energy, monumentality became a key ingredient in public art, in contemporary sculpture as
a whole and in the debate on the role of contemporary public sculpture. Key to this debate was this
sculptor’s assertion that to carry out his search for the expressive potential of scale, then
entrepreneurship and community engagement would be as much a part of making his sculpture as
would his wresting of steel.” (excerpt from text by Stephen Luecking, "John Henry: Sculpture" to be
published October 2007)
(From a brochure of a gallery exhibition:) The scale can be monumental or table-top but the issues
remain the same: starting from the ground and projecting upwards, these works are interventions in
space endlessly caught in suspension; they have weight but always seek to defy gravity. Structurally
of course there is at the core a filled volume. From this core, spars of machined metal lance off,
creating a vectored space where the empty volumes trapped between these spars match the filled
volume of the core. This matching of filled and empty volumes is what ultimately gives the work its
satisfactory completeness. It is the directed and focussed energy from the tips of the spars though that
somehow extends the sculpture beyond the space it occupies, imbuing it with qualities beyond the
mechanical.
The grandeur of the monumental pieces is to do with their scale in relation to us, the viewer. The
impact lies somewhere between St. Paul’s Cathedral, a very human feat, where one can almost feel
the physical individual efforts put into its construction, and the Swiss Re Building (the Gherkin)
which for all its ineffable scale doesn’t seem to have been made from the ground up – somehow does
not feel rooted and more particularly does not feel as though it was made by individuals.
This honesty of construction makes it rather hard to think of these pieces in any post-modern way.
They defy the conceptual; there is nothing ironic in the work. Unapologetically present, there is a
completeness that does not require any particular backdrop or environment. Whether installed in an
English landscape or in the glass atrium of a Chicago skyscraper the pieces lose none of their identity.
From the monumental to the small this identity is characterized by the attention to construction – on
the large scale of course there is a structural imperative which must marry with Henry’s vision; on the
small scale, where the limits of the materials are not being tested, there emerges instead a watch-
makers talent for making the difficult look easy. Spars that rest on each other barely touching seem to
hold themselves together by magnetism. Where slabs of metal lean against each other they seem to
characterize falling cards, not weightless but not industrial heavy in the mould of Richard Serra or
Mark di Suvero.
And then of course there is the paint. This is not linked to the painted sculptures that Europeans know
through the work of Anthony Caro, Philip King and others during the 1960’s and 70’s. Henry is not
averse to leaving the materials exposed to the elements - the oxidized layer on steel has its attractions
and its place. The uniformity of the single color though means that whatever the backdrop, wherever
the shadows fall there can be no doubts about the piece and its physical presence. As a solution it
undoubtedly belongs again to the industrialized roots in America, an automotive based solution.
Looking at a large-scale John Henry sculpture is to be reminded of the vast expanse between the earth
and the sky. Rooted on the ground, the works push and stretch upwards. These man-made,
constructed, sculptures emerge from the big skies and endless plains of mid-west industrialized
America. They are not though from that place, they are totemic and universal.
Johnson, J. Seward – Comprehension (ATW)

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Grace Hsu: The giant aluminum molar by J. Seward Johnson, Jr was back to Hamilton since
last fall at a new location and with 2 added bronze figures, a man and a woman. The title is
Comprehension according to my search result on the internet. The group of 3 pieces is on the
south side of Sloan Ave. close to the entrance to the southbound I-295 and in front of Congoleum
Building.
zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz
Johnson, J. Seward – First Ride (ATW)

Cast bronze 1996 8/8
Johnson, J. Seward – King Lear (ATW)

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Grace Hsu: Around the Gateway by Ray Katz was removed about 2 month ago. A new piece was
installed at that spot last month. The new piece is the 25 foot tall version of cupronickel King
Lear by J. Seward Johnson, Jr in Water Garden.
Johnson, J. Seward – The Tooth (ATW)

Removed. Cast aluminum, 1982. Removed in 2007 and replaced by The Four Amigos by Garret
Dean McFann, and has since returned in a new location ATW With a new title
Katz, Ray – Around the Gateway (ATW)

Removed. Steel, 1998. This abstract sculpture is a composite interlocking geometric shapes with
open centers that pass upright over four upright posts. The movement of the linear shapes is
arrested by intersecting angled bars and rods.
Ray Katz uses sculpture as a metaphor for his formal and philosophical concerns. "The sculptures
are a tribute to evolutionary process of life as we experience it on the human plane and in the
transcendent experience inherent in life’s journey. Each sculpture is a hierarchy of elements that
become symbols for these concepts by celebrating them as an event in the form of a sculpture."
The sculpture of Ray Katz represents a vision of form and space as it symbolizes ideas. It is a
metaphor for his formal and philosophical concerns and is a reflection of his life experience. His
sculpture incorporates ideas of transcendent movement from one plane or state or existence to
another through the passage of time in real space. They are a tribute to the evolutionary processes
of life as we experience them on the human plane and in the transcendent experience inherent in
life's journey. Through the creative process a hierarchy of elements become symbols for these
concepts by celebrating each as an event in the form of a sculpture.
King, William – Unitas (ATW)

Plate aluminum. The spare linear figures are typical of one of King's many styles.
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Liberman, Alexander – Daedalus (ATW)

Painted steel, 1990 A large bright orange-red (Liberman's signature color) sculpture made of steel
pipe sections and tank ends. Daedalus is the name of a Greek mythical figure, but he does not have an
obvious connection to the sculpture. See Daedalus in the Appendix. A smaller unpainted sculpture,
Entwined, by Liberman is at GFS.
In Greek mythology, Daedalus (Latin, also Hellenized Latin Daedalos, Greek Daidalos (Δαίδαλος)
meaning "cunning worker", and Etruscan Taitle) was a most skillful artificer, so skillful that he was
said to have invented images. Daedalus had two sons: Icarus and Iapyx. He is first mentioned by
Homer as the creator of a wide dancing-ground for Ariadne. Homer refers to Ariadne by her Cretan
title, the "Lady of the Labyrinth". Daedalus also created the Labyrinth on Crete in which the Minotaur
was kept. Theseus killed the Minotaur, finding his way with the help of Ariadne's thread. See
Daedalus and Icarus in the Appendix for more of the story.
McFann, Garret Dean - The Four Amigos (ATW)

"The Four Amigos," by artist Garret Dean McFann a 14-foot sculpture, unveiled in October, 2007. It
replaced The Tooth by J. Seward Johnson.
Martini, John - Head 2 Head (ATW)

Two identical painted steel plates with enamel paint. Located on I295 South before exit 65B.
Towering over 30 feet tall and 27 feet long, Head 2 Head, resides along I-295 southbound before
reaching exit 65B. The largest of any sculpture made by John Martini to date, Head 2 Head was made
by layering two identical pieces of steel, and brushing on solid enamel colors of red and blue. Martini
usually uses a cutting-torch to create his work allowing the intense heat to scorch the paint, leaving a
dark edge where the steel is exposed. With Head 2 Head the steel was welded, plasma cut and painted
black around the rim to create the same effect.
Head 2 Head was a site-specific commission by The Sculpture Foundation Inc. for this I-295 location,
owned by Hamilton Township. The project took more than seven years. Brooke Barrie,
Director/Curator and Bruce Daniels, Project Manager of Grounds For Sculpture, were largely
responsible for contacting the numerous controlling agencies for this public art project. It was only
through the joint partnership of Hamilton Township and the approval and permits received by the
New Jersey Department of Transportation and the New Jersey Department of Environmental
Protection that this project became a reality.
Menna, Joseph – John Henry (ATW)

Plaster, steel 2000. Removed. Menna 's sculpture Daphne in in Rat's Resturant.
Newman, John - On a Yellow Box (ATW)

2002, stone, steel, aluminum, fiberglass, steel screen. An abstract sculpture with a distinctive yellow
box
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Payne, Kenneth – Heart Shadow (ATW)

Cast iron, copper, brass 1997 - This sculpture is a large version of Payne's Specter in GFS.
Pitynski, Andrzej – The Partisans II - Freedom Fighters (ATW)

Cast aluminum 1999 Ghost like figures on horses. Like sentinels, the five equestrian figures in
cast aluminum are a dramatic presence along the tracks of the Northeast Corridor.
(http://query.nytimes.com/gst/fullpage.html?
res=9C00E7DC133CF937A35755C0A9669C8B63&sec=&spon=&pagewanted=2)
“Partisans” depicts five horsemen with bayoneted rifles, gaunt and exhausted, and their equally
emaciated horses. Though Pitynski modeled the work on the Polish partisans of his home-land
that spent years resisting first the Nazis and then the Polish Communists, the bedraggled
horsemen and their steeds have no specific uniforms or markings and are intended to represent
guerrilla freedom fighters everywhere. Some felt that the city of Boston, considered by many
people to be the birthplace of the American Revolution, was a fitting home for a statue depicting
freedom fighters. Others, such as the group Friends of the Public Garden, had a more ‘traditional’
view of the types of statuary that belonged in the Public Garden and the neighboring Boston
Common. Partisans I was in Boston Common but was removed because of its non-traditional
approach to the subject. However, not everyone thought this was true. Before the removal, a
reviewer of an outdoor cohcert, Beathoven's Ninth, remarked, "Children played in the illuminated
1979 sculpture by Andrzej Pitynski, "Partisans," and Beethoven's vision seemed, for a brief
moment, a living reality." It seems he was wrong.
E. Calder Powel - The Lovers’ Knot

The following is from It’s Yellow! By Ilene Dube at http://www.packetinsider.com/blog/art/
“The Lovers’ Knot (Inspired by the Trefoil Knot)” by artist E. Calder Powel is the latest addition to
Sculpture Along the Way, the program of placing public art along the roadways leading up to
Grounds For Sculpture in Hamilton.
At 11 feet in height, it arrived the afternoon of March 18 on Klockner Ave., approximately a half
mile south of the Hamilton NJ Transit Rail Station. The artwork is a vibrant yellow entangled
form.
Do I know anything about the trefoil knot? No. So I looked it up on that great source of internet
information, Wikipedia: In topology, a branch of mathematics, the trefoil knot is the simplest
example of a nontrivial knot. The trefoil can be obtained by joining together the two loose ends of
a common overhand knot, resulting in a knotted loop. As the simplest knot, the trefoil is
fundamental to the study of mathematical knot theory, which has diverse applications in topology,
geometry, physics, and chemistry.
Live and learn.
E. Calder Powel is a ceramic-based sculptor. She began her studies in mathematics before
additionally taking up the study of art, concentrating in ceramics and sculpture. Her work
transforms the mathemtically perfect into forms that are one-of-a-kind. Mathematical constraints
serve to guide her artistic creation; by understanding essential mathematical constraints, her
mind is freed to use her full artistic intuition and creativity in order to push the boundaries of the
many mathematical fields and expand them into unified sculptural forms. Mathematics acts as
137
the template that frames her personal vision, guiding her towards the inherent beauty of the purity
and truth underlying the world.
Says the press release: “The trefoil knot is a knot composed of a three-dimensional ring. The design
is obtained by looping a strand through the hole of a ring before joining the two ends back together.
The figure can be considered ‘amphichiral,’ or left- or right-handed depending on whether the strand
is place over or under the initial ring. Because of this chirality, a mirror image figure results in a
different figure, making it an infinite bond whose nature cannot be copied, only viewed as the unique
structure it represents.”
Pitynski, Andrzej – Sarmatian: Spirit of Freedom (ATW)

Steel, plaster 2001
This sculpture is a complicated metaphor. The Sarmatians are not a group that is easily identified.
Herodotus (Histories 4.21) in the 5th century BC placed the land of the Sarmatians east of the Tanais,
beginning at the corner of the Maeotian Lake, stretching northwards for fifteen days' journey, adjacent
to the forested land of the Budinoi. Herodotus describes the Sarmatians' physical appearance as blond,
stout and tanned; in short, pretty much as the Scythians and Thracians were seen by the other classical
authors. Herodotus' account, in a way, explains the origins of the Sarmatians' language (as an impure
form of Scythian). Moreover, it explains the unusual freedoms of Sauromatae women, including
participation in warfare, which is deemed as an inheritance from their Amazon ancestors. Later
writers call some of them the "woman-ruled Sarmatae" (γυναικοκρατούμενοι). See
http://en.wikipedia.org/wiki/Sarmatians.
The sculpture is a tribute to the spirit of freedom, chivalry, bravery, and honor. The winged horseman
represents the elite calvary that in 16th century Sarmatia (Poland) fought against invaders of northern
Europe. There are however may differences of opinion about historical events and the Sarmatians.
Shore, Philip - Armored (ATW)

1998, steel. Abstract geometric shapes with sharp triangular elements enclosing a diamond shaped
form in the center.
Stolz, Fisher – Sphere of Influence (ATW)

Steel, aluminum 1998. An abstract work based on geometry with sharp triangular elements that
enclose in a protective way a diamond shaped form suspended in the center. The hollow sphere of
interwoven bands is surrounded by smaller globes and grounded by L-shaped metal beams. See
http://art.bradley.edu/faculty/fisher-stolz.
Tobin, Steve* – Rebirth (ATW)

Steel I-beams and found objects. See http://www.stevetobin.com/ and
http://www.warmus.org/Steve_Tobin_by_warmus.htm for an article by William Warmus that
appeared in Sculpture magazine, March 2001 (Vol.20, No.2). The following comes from Warmus'
article.
Tobin's most substantial divergence from contemporary art is in his attitude toward the
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Along the Way
commodification of artworks, the capitalist alchemy that seems capable of packaging anything
spiritual or cultural and transforming into a commodity that can be sold. The critique of consumer
culture that is implicit in advanced art at least since Warhol has proceeded mostly through a
satirical recognition of the emptiness and lifelessness of consumer culture and its objects. In
many contemporary artworks, the material of the art plays a decidedly secondary role to the
concept, as if a firewall has been erected between the spiritual and the material to keep the one
from infecting the other.
Even so, Tobin revels in the solid presence of objects. He is on easy terms with the industrial
processes that allow cultural artifacts to be produced. Mostly, he revels in the life of objects,
admiring an artist like Henry Moore for his attitude that "a work can have in it a pent-up energy,
an intense life of its own, independent of the object it may represent."
Tobin has proven a master at creating wonders, and at using these wonders to sidestep the issue of
beauty in art. His works are not beautiful, but they are wonderful in that antique sense of being
'passionate objects' that confuse us as to their origins. The intensity of this confusion is the engine
of Tobin's brand of anarchism. And his anarchic art is largely there to jolt us into seeing the
results of power: insect power, explosive actions, the terror of dreams. Tobin creates memorials to
power and monuments to creative forces.
Van Tongeren, Herk – Teatro XVII (ATW)

Cast and plate bronze 1991. Appears in front of the atelier. Teatro XI, on view in the park, and
Teatro XVII 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.
White, Bruce – Crustacean (ATW)

Aluminum, 1998. As the title and the bright red hue indicate, the artist presents an of abstracted
marine life with a bit of humor. However the arched form with its tall open mid-section can aalso
be read from the side as a passageway or portal appropriate to its placement by the Hamilton
Train Station. See http://www.brucewhitesculpture.com.
139
Seward Johnson Center for the Arts (SJCA)Seward Johnson Center for the Arts (SJCA)
Seward Johnson Center for the Arts (SJCA)

Evans, Phill - Fans (SJCA)
Febland, Harriet - Moon Song (SJCA)

See http://www.harrietfebland.com/constructions/index.htm and on
http://www.anny.org/2/artists/FeBland/FeBland.html there is the following Artist Statement.
"Geometry has its own power, and because of this it became my language of choice to best express
the meaning of may art, its symbolism and content. Long ago I chose geometric shapes because they
are easily understood by everyone. They are universal. The totems, wall constructions, and most of
my works begin from my personal geometric vocabulary. Over time, some shapes became more
meaningful to me than others. The straight line became dominant and is the original premise for the
totems. Yet the curve is persistent and has become a force, particularly in my paintings and
monotypes. The totems in groups seem to gain strength from each other. They can be spiritual, even
mystical, while the boxes are small, intimate worlds, very personal with their own magic.
Excerpt: Paul Mocsanyi (Former Director, New School Art Center, New School For Social Research,
NYC): "The geometry of FeBland is not the cool reasoned geometry of Mondrian . . . it is the creative
woman's intuitive vision of its vital essence." . . . "the color of her prints is exalted; her sculptures hint
at a hidden meaning akin to the mystery divulged by prehistoric taboos of submerged, magic
civilizations. Harriet FeBland humanized geometry and revealed its mystery and its beauty. She is the
Poet of geometry."
Johnson Jr., Seward J. - Time for Fun (SJCA)

cast aluminum, painted 1/8, 71” x 45” x 43”
Johnson Jr., Seward J. - Confrontential Vulnerability (SJCA)

After Manet's Olympia, 1863; Private, Rats. There is a small copy above the entrance to Rats. The
sculpture was in a window near the visitors entrance but it has been removed.
Martini, John - Dream a Little Dream (SJCA)
Moore, Jesse - Sigh (The Morning you Left) (SJCA)

poplar wood and steel, 1993, 92” x 108” x 72
Neri, Manual - Untitled Marble III (SJCA)

Marble, 1968; This sculpture has been moved into the Johnson center to avoid deterioration. See
http://www.realart.com/hfg/html/modern-html/neri-html/neri_main.html.
Note the roughness of the figure emerging from the stone. Manuel Neri is one of the premier
figurative sculptors working today. Neri began exploring new forms and materials in figurative
sculpture and painting in early 1950s San Francisco. During this same time, Neri's peers—David
Park, Elmer Bischoff and Richard Diebenkorn—were joining the lessons of abstract expressionism to
140
Seward Johnson Center for the Arts (SJCA)
their renewed interest in the human figure. Indeed, Neri's early sculptures closely parallel several
seminal paintings by Park and Bischoff at this time.
Neri's naturally elegant, virtuoso style mixed with the raw materials and energy of "funk" art to
make an explosive combination. To this day, Neri remains one of the few contemporary artists
consistently devoted to the expressionistic figure.
Neri began sculpting in "junk"—burlap, wire, cardboard—and soon thereafter, in simple plaster.
His lone female figures, often in frankly erotic or naturalistic poses, were lauded immediately for
their contemporary yet timeless quality. From the onset, Neri made violent marks on the "skin" of
his figures and then painted their surfaces in patches of bright color—a conscious bow, he has
said, to the painted sculpture of Marino Marini and to the ceramics of Pablo Picasso, as well as to
the visceral expressionism of Willem de Kooning.
Neri's figures and abstractions on paper are equally lush and expressive. In the words of Jack
Cowart, deputy director/ chief curator of the Corcoran Gallery of Art in Washington, D.C. until
1999, they are "the record of an artist anxiously, constantly, experimenting and visualizing his
craft."
In recent years Neri has worked in Carrara marble and cast in bronze which he then marks in
paint, much as the plasters. These classic materials express the timelessness of Neri's forms,
juxtaposed with the immediacy of his paint. He continues to work in plaster, as well. Neri's latest
works are at once fragile, attenuated, individual and dynamic. His longtime muse and model
Mary Julia remains unchanged. To this day, a lone, archetypal woman remains the vehicle for
Neri's most ambitious formal and symbolic goals.
Padovano, Anthony - Circle #1 (SJCA)

1989
141
Alphabetical IndexAlphabetical Index
Alphabetical Index
A Benazzi, Raffael - Primavera (Figure No. 1439)

....................................................................77
A Thought to Consider..................................104 Benshalom, Itzak - Facing Couple..................77
Abakanowicz, Magdalena - Hand-Like Tree: Benshalom, Itzik - Big Vered..........................38
Cecyna........................................................97 Benshalom, Itzik - First Love..........................97
Abakanowicz, Magdalena*.............................37 Benton, Fletcher - Folded Circle Ring............78
Abakanowicz, Magdalena* - Space of Stone, 22 Benton, Fletcher - Folded Square Alphabet “J”
Elements......................................................37 ..................................................................135
Abakanowitz, Magdalena - Sage B and Sage. .77 Big Vered........................................................38
Accardo, Anthony - Breaking Through.........135 Birth of the Messenger..................................116
Acheron.........................................................108 Black Madonna...............................................98
Aeschlimann, Heinz - Composer I..................37 Black Trunk...................................................130
Albebo.............................................................38 Blitz, Ava - Moby Dick...................................78
Alexandra-of -the-Middle-Patent..................129 Bower..............................................................86
Allentown Council........................................123 Boxwood.........................................................85
Alston, Littleton – Tree of Life (ATW).........149 Brazen Sphere...............................................132
Aluna..............................................................67 Breaking Through.........................................135
Anantharaman, Lalitha - Prana 7...................124 Bridge...........................................................102
Annoweeka (ATW).........................................57 Brill, Curt - Dana............................................62
Aqua Libra......................................................65 Bruno, Philip.................................................142
Aranovich, Claudia – Rupture.........................97 Brzezinski, Emilie Benes - Lintel..................135
Arch II ..........................................................134 Bucci...............................................................56
Arch II, Set II................................................112 Bull (#4 & 5) (two works)...............................94
Area 51............................................................51 Bullock, Benbow - Albebo..............................38
Armored (ATW)............................................155 Bullock, Benbow - Pillars of Hercules..........136
Around the Gateway (ATW).........................153
Attitude Croisée............................................129 C
Awakening......................................................93
Caged Bird Dances II......................................53
B Caillebotte*...................................................140
Cairns, Christopher - Black Madonna.............98
Bamboo Night.................................................81 Cairns, Christopher – Lydia Mary...................40
Barret, Bill - Efflorescence..............................38 Canon..............................................................63
Barrett, Bill...................................................142 Capps, Kenneth – Equator (183, 230, 301, 339,
Barton, James - Constellation..........................38 Four Works)..............................................125
Baruch Ashem.................................................68 Caro, Anthony - Potpourri...............................78
Beasely, Bruce - Dorion................................124 Cemin, Saint Clair – Hood Ornament (ATW)
Beast.............................................................109 ..................................................................150
Beck-Friedman, Tova - Excerpts of a Lost Centaur..........................................................105
Forest.............................................................. Charles Ginnever...........................................139
Homage to Ashera......................................62 Circle #1 (SJCA)...........................................158
Bell..................................................................98 Circular Rest.................................................136
Bell, Larry – Sumerian figures 14 and 23 Cline, Lyden - Several months before you were
(ATW).......................................................150
142
Alphabetical Index
born, I was married a man who wasn't your Dusenbery, Walter - Damascus Gate............41
father........................................................79 Dusenbery, Walter - Haystack....................100
Cock-a-doodle-doo......................................55 Dusenbery, Walter - Porta Stazzema............80
Colavita, James - Bell..................................98 Dusenbery, Walter - Rocchetta...................126
Composer I..................................................37 Dusenbery, Walter - Tempio Bretton..........100
Comprehension (ATW)..............................152
Compression and Expansion........................66 E
Confrontational Vulnerab.............................45 Efflorescence...............................................38
Confrontational Vulnerability......................45 Entwined......................................................85
Confrontential Vulnerability (SJCA)..........157 Eolith...........................................................58
Constellation................................................38 Equator (183, 230, 301, 339, Four Works). 125
ConStruct...................................................139 Erotica Tropicallis......................................128
Cooke, John and Goode, Daniel - Seat of Estridge, Larry - The Psalmist.....................63
Sound.......................................................99 Evans, Phill - Fans (SJCA)........................157
Couple........................................................134 Eve.............................................................108
Crowder, Susan - Footpath...........................79 Ex-halations.................................................42
Crustacean (ATW).....................................156 Excerpts of a Lost Forest.................................
Cuckoo’s Nest..............................................89 Homage to Ashera...................................62
Cunnigham, Linda - War Memorial III........63 Eye of the Beholder.....................................84
Eye on the Ball.............................................57
D
Daedalus (ATW)........................................153 F
Damascus Gate............................................41 Facing Couple .............................................77
Dana.............................................................62 Family Secret.............................................105
Dance.........................................................107 Fan.............................................................102
Dancers......................................................110 Fans (SJCA)...............................................157
Danziger, Joan - October Gathering.............99 Farlowe, Horace - Circular Rest.................136
Daphne.......................................................146 Farlowe, Horace - Portal Rest....................137
Data and Dust #4.......................................109 Febland......................................................157
Davis, David - Sound of 4th of July.............63 Febland, Harriet - Moon Song (SJCA).......157
Dejeuner Déjà Vu.........................................64 Ferris, Herb - Heart of Gold.........................41
Depression Bread Line...............................133 Feuerman, Carole A. - Zeus and Hera II....126
Designated Coachman...............................140 Finke, Leonda - Standing Figure and Sitting
Devrishian, David Allen – Untitled (3 works) Figure (two works).................................127
.................................................................79 First Love.....................................................97
Dinnerstein, James - Canon.........................63 First Ride (ATW).......................................152
Dinnerstein, James - For Instance..............136 Fisher, Rob - Windjammer...........................80
Dinnerstein, James - Still Speach...............136 Flaubert..........................................................2
Doner, Michele Oka - Ice Ring & Radiant Flemming, Linda - Ex-halations..................42
Disk (two works) ..................................136 Flora Exemplar............................................51
Donnan, William - Pinched..........................41 Flukes..........................................................42
Dorrien, Carlos - Nine Muses....................125 Fluxus..........................................................70
Doubles........................................................72 Folded Circle Ring.......................................78
Dragon's Shrill in the Cosmic Void..............95 Folded Square Alphabet “J”.......................135
Dream a Little Dream (SJCA)....................157 Footpath.......................................................79
Dual Form..................................................134 For Instance...............................................136
143
Forth..............................................................147 Heart's Desire................................................114

Forth of Firth of Forth...................................138 Hehemann, Barry - Forth of Firth of Forth....138
Four Amigos (ATW).....................................154 Heinrich, Richard - Bridge............................102
Frame Construction #5....................................85 Held, Marion - Three Figures..........................43
Frank, Mary - Sundial.....................................80 Henry Moore in a Sheep Meadow.................127
Free Form II....................................................94 Henry Takes His First Steps............................91
From the Heart..............................................128 Henry, John - Reclining Refuge....................139
Fűkő, Béla - Internal Evolution.......................42 Henry, John – Grand Rouge (ATW)..............150
Fussballer......................................................128 Higashida, Zero - Sinjin..................................64
High Spirit.......................................................67
G Hillary.............................................................90
Garden State..................................................117 Hollósy, Gyuri - Kathy B..............................103
General Bronze.............................................131 Hood Ornament (ATW).................................150
Geometry of the Cosmos.................................54 Horvitz, Suzanne Reese - Transduction -
Ghat (ATW)..................................................150 Hamilton.....................................................69
Ginnever, Charles - Scorpio..........................100 Hostetler, David - Summertime Lady............139
Goode, Daniel.................................................99 Houser, Allan - Resting at the Spring..............45
Gordan, Harry H. – Ghat (ATW)...................150 http://abstract-art.com/index.shtml..................85
Gossip.............................................................92 http://art.bradley.edu/faculty/fisher-stolz.......155
Grand Rouge (ATW).....................................150 http://artchive.com/artchive/M/monet/parasol.jp
Grass, Paper, Glass .........................................53 g.html........................................................141
Grausman, Philip - Leucantha.......................138 http://danalorenstewart.com/foundry.html.......72
Graves, Bradford - Bamboo Night, Hung the http://en.wikipedia.org/wiki/Luncheon_of_the_
Flesh of Living Fish (two sculptures ).........81 Boating_Party...........................................143
Green-Rifkin1.................................................15 http://en.wikipedia.org/wiki/Tilia..................118
Grooms, Red.................................................142 http://home.earthlink.net/~mikehamm/form/for
Grooms, Red - Henry Moore in a Sheep m.html.......................................................102
Meadow....................................................127 http://lookoutpark.free.fr/online/page_f1.htm. 57
Groupo............................................................90 http://maryannellafrank.com...........................81
Grygutis, Barbara - Railgate (ATW).............149 http://www.abakanowicz.art.pl/.......................37
Gund, Gordon - Flukes....................................42 http://www.abstract-
Gyampo, Mike - Just Chillin'..........................81 art.com/reginato/4PRImprov.html...............51
http://www.abstract-
H art.com/reginato/home.shtml.......................51
Hai Ku...........................................................106 http://www.abstract-art.com/reginato/index.html
Hand-Like Tree: Cecyna.................................97 ....................................................................51
Harmony 3....................................................129 http://www.anny.org/2/artists/FeBland/FeBland.
Hatcher, Brower - Fan, Tower, and Wave (three html...........................................................157
works).......................................................102 http://www.anotheramerica.org/souls_aburning.
Hatcher, Brower - Time Reversing..................82 htm..............................................................68
Haviland, Sarah - Trio...................................102 http://www.anthonycaro.org/...........................79
Hawthorne Tree II.........................................118 http://www.artnut.com/tournesol.html.............39
Haystack.......................................................100 http://www.beverlypepper.org.........................91
Head 2 Head (ATW)......................................154 http://www.billbarrettsculpture.com/...............38
Heart of Gold..................................................41 http://www.bradfordgraves.com......................81
Heart Shadow (ATW)....................................154 http://www.bradfordgraves.com/pres_more.html
144
Alphabetical Index
.................................................................81 ge.php?sculptor_id=1000064.................125
http://www.bradfordgraves.com/writing_maki http://www.sculpture.org/portfolio/sculptorPa
ng.htm......................................................81 ge.php?sculptor_id=1000080...................80
http://www.brucebeasley.com ...................125 http://www.sculpture.org/portfolio/sculptorPa
http://www.brucewhitesculpture.com.........156 ge.php?sculptor_id=1000083.................137
http://www.carnegiemnh.org/exhibits/egypt/sp http://www.sewardjohnson.com.................104
irit.htm...................................................100 http://www.stephenknapp.com/....................85
http://www.christophercairns.com...............41 http://www.stevetobin.com/.......................155
http://www.christophercairns.com/..............98 http://www.terraingallery.org/IsBeauty.html 30
http://www.copper.org/consumers/arts/2009/a http://www.vandebovenkamp.com...............56
ugust/homepage.html.......................15, 127 http://www.vandebovenkamp.com...............55
http://www.curtbrill.com..............................62 http://www.walterdusenbery.com.................41
http://www.denisdutton.com/universals.htm 23 http://www.warmus.org/Steve_Tobin_by_war
http://www.feuerman-studios.com.............137 mus.htm.................................................155
http://www.groundsforsculpture.com.............2 http://www.wirtzgallery.com/exhibitions/2004
http://www.groundsforsculpture.org............16 /2004_10/abakanowicz/abakanowicz_bio.p
http://www.harrietfebland.com/constructions/i df..............................................................97
ndex.htm................................................157 http://www.woytuk.com...............................94
http://www.hollosy.com.............................103 Huerfano......................................................43
http://www.huntingtonsculpture.com.........103 Hull, Petro - From the Heart & Fussballer
http://www.isaacwitkin.com.........................59 (two works)............................................128
http://www.itzikbenshalom.com..................38 Hung the Flesh of Living Fish ....................81
http://www.itzikbenshalom.com/.................78 Hunting Party...............................................48
http://www.itzikbenshalom.com/artist.html. 98 Hunting Party, The.......................................48
http://www.johnmartini.com........................86 Huntington, Jim - Ripper/Body Bone........103
http://www.kaslowpublicart.com...............149
http://www.larrybell.com/..........................150 I
http://www.maa.li........................................38 If It Were Time...........................................105
http://www.maryshaffer.com/ ....................147 Ikenson, Seymour - Spider.........................139
http://www.meryltaradash.com....................53 ility...............................................................45
http://www.modernsculpture.com/wareham.ht Innocence...................................................146
m..............................................................57 Inside Elevation...........................................87
http://www.online-mythology.com/............118 Interior #5: Isolation....................................86
http://www.pmwgalleryplus.com/NIKI_KET Internal Evolution........................................42
CHMAN.php...........................................84 Inua............................................................130
http://www.psu.edu/dept/palmermuseum/past/ Isherwood, Jon - Secret Passage..................82
grooms/grooms.shtml ............................128
http://www.rider.edu/news/newswire/spring20 J
07/Rider_080107/story_one.htm..............60 James ..........................................................52
http://www.robfisheramericandream.com,...80 Jimenez, Luis - Mesteno..............................82
http://www.sculpture.org .............................16 John Henry (ATW).....................................154
http://www.sculpture.org/documents/parksdir/ Johnson..........................................................2
p&g/lookout/lookout.shtml......................57 Johnson Jr., Seward J. - Confrontential
http://www.sculpture.org/documents/webspec/ Vulnerability (SJCA).............................157
redgrooms/redgroom.shtml....................128 Johnson Jr., Seward J. - Time for Fun (SJCA)
http://www.sculpture.org/portfolio/sculptorPa ...............................................................157
145
Johnson, J. Seward - A Thought to Consider Kendrick, Mel - Black Trunk........................130

...............................................................103p. Kenneth Snelson...........................................139
Johnson, J. Seward - Copyright Violation.....104 Ketchman, Niki - Siren...................................84
Johnson, J. Seward - Dejeuner Déjà Vu..........64 King Lear........................................................84
Johnson, J. Seward - Designated Coachman. 140 King, William - Maus, Maybe, and Snack (3
Johnson, J. Seward - Eye of the Beholder.......84 works).........................................................84
Johnson, J. Seward - Family Secret...............105 King, William – Unitas (ATW).....................153
Johnson, J. Seward - If It Were Time.............105 Knapp, Stephan - Temple Talisman.................85
Johnson, J. Seward - King Lear ......................84 Kneeling Woman...........................................147
Johnson, J. Seward - La Promenade..............140 Kordell............................................................94
Johnson, J. Seward - Lakeside Table #1..........65 Krikorian, Berj - Sparten.................................65
Johnson, J. Seward - On a Poppied Hill........140
Johnson, J. Seward - Part of Nature..............141 L
Johnson, J. Seward - Pondering the Benefits of La Casa de Bernardo Alba.............................117
Exercise.....................................................141 La Promenade...............................................140
Johnson, J. Seward - Sailing on the Seine.....142 Lakeside Table #1...........................................65
Johnson, J. Seward - Summer Thinking..........84 Lamentation..................................................132
Johnson, J. Seward - There My Little Pretties Lash, Jon - Frame Construction #5..................85
..................................................................142 Lash, Jon - Innocence....................................146
Johnson, J. Seward - Were You Invited?........142 Leading...........................................................92
Johnson, J. Seward – Comprehension (ATW) Lehman, Wendy - Boxwood............................85
..................................................................152 Leiro, Francisco - Skewered..........................130
Johnson, J. Seward – First Ride (ATW)........152 Lester..............................................................71
Johnson, J. Seward – The Tooth (ATW)........153 Leucantha......................................................138
Johnson, Jr., J. Seward - Erotica Tropicallis. .128 Levy, Nina - Centaur.....................................105
Johnson, Seward - Confrontational Vulnerab. .45 Liberman, Alexander - Entwined....................85
Johnson, Seward - Confrontational Vulnerability Liberman, Alexander – Daedalus (ATW)......153
....................................................................45 Linden Tree...................................................118
Johnson, Seward - The Hunting Party.............48 Lindsay, Bruce - Use of Memory..................106
Jubilant Dancer...............................................73 Lintel.............................................................135
Juggler...........................................................147 Loper, Sharon - Interior #5: Isolation..............86
Jun, Yum Hyung - Monkey King...................105 Loquacious Three..........................................105
Just Chillin'.....................................................81 Love................................................................56
Lukasova, Helena - Inua...............................130
K Lunar Brilliance..............................................95
Kainz, Danial - Harmony 3...........................129 Lundberg, Peter - Where is Geometry...........106
Kalish, Howard - Urchin.................................49 Lune Bleu........................................................67
Kaslow, Lisa - Progression (ATW)................149 Lydia Mary......................................................40
Kathy B.........................................................103 Lyles, Kevin - Passage....................................65
Katz, Ray – Around the Gateway (ATW)......153 Lyman Kipp..................................................139
Katzen, Lila - Aqua Libra................................65 Lynds, Clyde - Transit (ATW).......................149
Katzen, Lila - Loquacious Three...................105
Katzen, Lila - Pinkney.....................................49 M
Kelsey, Sterett-Gittings - Alexandra-of -the- Madam Butterfly...........................................120
Middle-Patent and Attitude Croisée (two Mangold, Robert - PTTSAAES 8/01...............49
works).......................................................129 Marisol, General Bronze...............................131
146
Alphabetical Index
Mark di Suvero..........................................139 Newman, John - Skyhook..........................107

Maron, Jeffrey - Padma's Dream..................86 Nimue........................................................118
Martini, John - Dream a Little Dream (SJCA) Nine Muses................................................125
...............................................................157 non-communicative abstract art.................112
Martini, John - Head 2 Head (ATW)..........154 Nude Descending the Stare Case.................50
Martini, John - Sienna..................................86 Number II..................................................133
Martini, John - The Couple..........................65
Mateescu, Patriciu - Hai Ku.......................106 O
Maus............................................................84 October Gathering.......................................99
Maybe..........................................................84 Ode to Possum...........................................121
McCarty, John - Bower................................86 Offshoot.....................................................107
McFann, Garret Dean - The Four Amigos Ogden, Jr., Samuel R. - Seven Prisms........108
(ATW)....................................................154 Ogden, Linda M. - Torso............................146
McMillan, Scott - Promise...........................66 Oka Doner, Michele - Eve and Venus (two
Meadmore, Clemet - Offshoot...................107 works)....................................................108
Mehlman, Ron - Compression and Expansion Olympia.......................................................45
.................................................................66 On a Poppied Hill......................................140
Menna, Joseph - Daphne............................146 On a Yellow Box (ATW)............................154
Menna, Joseph – John Henry (ATW).........154 Oros, Mary - Henry Takes His First Steps. . .91
Merlin........................................................118 Otterness, Tom - Z-DNA.............................50
Mesteno.......................................................82
Mills, Royden - Inside Elevation.................87 P
Mirage.........................................................94 Padma's Dream............................................86
Missoula......................................................56 Padovano, Anthony - Circle #1 (SJCA).....158
Moby Dick...................................................78 Paolo E Francesca........................................91
Mojsilov, Zoran - Cuckoo’s Nest.................89 Parker, Barry - Lamentation.......................132
Monkey King.............................................105 Part of Nature.............................................141
Moon Song (SJCA)....................................157 Passage........................................................65
Moore, Jesse - Sigh (The Morning you Left) Payne, Kenneth - Spector...........................108
(SJCA)...................................................157 Payne, Kenneth – Heart Shadow (ATW)....154
Morante , G. Frederick - Nude Descending the Pegasus and Bellerophon...........................123
Stare Case................................................50 Pels, Marsha - Acheron..............................108
Morante, G. Frederick - Relative, Nude Pepper, Beverly - Paolo E Francesca...........91
Descending the Stare Case (two works)...89 Pepper, Beverly - Split Ritual II...................66
Muick, Paul - Two Figure Composition.....131 Pepper, Beverly - Untitled ...........................91
Mummenschanz...........................................67 Perlman, Joel - High Spirit...........................67
Murrey, Robert - Hillary..............................90 Perlman, Joel - Red Diamond....................109
Musick, Pat - Groupo...................................90 Perlman, Joel - Southern Star.....................146
N Perlman, Joel Tabletop I.............................133
Peterson, Karen - Beast..............................109
Namingha, Arlo - Dance............................107 Peterson, Karen - The Listener.....................92
Namingha, Dan - Symbolism I....................90 Pettigrew, Martha - Gossip...........................92
Nature's Laugh...........................................114 Pfitzenmeier, Robert - Point of View.........109
Neri, Manual - Untitled Marble III (SJCA)157 Pickering......................................................59
Newman, John - Brazen Sphere.................132 Pillars.........................................................134
Newman, John - On a Yellow Box (ATW).154 Pillars of Hercules......................................136
147
Pinched...........................................................41 Ripper/Body Bone.........................................103

Pinkney...........................................................49 Rocchetta......................................................126
Pitynski, Andrzej...........................................142 Roesch, Robert and Horvitz, Suzanne Reese -
Pitynski, Andrzej – Sarmatian: Spirit of Transduction - Hamilton.............................69
Freedom (ATW)........................................155 Rogers, Andrew - Flora Exemplar...................51
Pitynski, Andrzej – The Partisans II - Freedom Rogers, Andrew - Leading..............................92
Fighters (ATW).........................................154 Roots...............................................................53
Point of View................................................109 Rosati, James - Shorepoints I..........................52
Pondering the Benefits of Exercise...............141 Ruddick, Dorothy - Number II......................133
Porcaro, Don - Data and Dust #4...................109 Ruppert, John - Pumpkins...............................92
Porta Stazzema................................................80 Rupture...........................................................97
Portal Rest.....................................................137 Rutch, Alexander - Dancers...........................110
Potpourri.........................................................78
Prana 7..........................................................124 S
Primavera (Figure No. 1439)..........................77 Sablonsky, Jill - Awakening............................93
Progression (ATW).......................................149 Sacred Grove.................................................110
Promise...........................................................66 Sage................................................................77
Psalmist...........................................................63 Sage B.............................................................77
PTTSAAES 8/01.............................................49 Sagg Portal......................................................55
Pumpkins........................................................92 Sailing on the Seine.......................................142
Putnam, Tony - Sacred Grove........................110 Sarmatian: Spirit of Freedom (ATW)............155
Schiabo Rounder...........................................114
Q Scorpio..........................................................100
Quotation: Barrie..............................................2 Seat of Sound..................................................99
Quotation: Febland........................................157 Secret Passage.................................................82
Quotation: Flaubert...........................................2 See http://www.artnut.com..............................39
Quotation: Whithead.........................................2 Segal, George - Depression Bread Line........133
Seven Prisms.................................................108
R Several months before you were born, I was
Radiant Disk.................................................136 married a man who wasn't your father.........79
Railgate (ATW).............................................149 Seward J. Johnson.........................................142
Rapunzel Tree.................................................74 Shaffer, Mary - Forth.....................................147
Rebirth (ATW)..............................................155 Shaw, Ernst - Sumo.......................................111
Reclining Refuge...........................................139 Shiva.............................................................111
Reclining Woman..........................................134 Shore, Philip - Armored (ATW)....................155
Red Diamond................................................109 Shorepoints I...................................................52
Regina...........................................................147 Siegel, Steven - Grass, Paper, Glass ...............53
Reginato, Peter - Lune Bleu and Sienna.............................................................86
Mummenschanz (two works)......................67 Sigh (The Morning you Left) (SJCA)...........157
Reginato, Peter – Area 51................................51 Sinjin...............................................................64
Relative...........................................................89 Siren................................................................84
Ressler, Robert - Aluna...................................67 Sitting Figure................................................127
Ressler, Robert - Baruch Ashem.....................68 Skewered.......................................................130
Ressler, Robert - Wave Hill...........................110 Skyhook........................................................107
Resting at the Spring.......................................45 Smith, Kiki - Untitled......................................93
Resting Place...................................................74 Snack..............................................................84
148
Alphabetical Index
Solemn.......................................................112 Temple Talisman..........................................85

Sometimes Wander....................................147 Termite Hills................................................54
Sound of 4th of July.....................................63 The Bathers................................................134
Southern Star.............................................146 The Couple..................................................65
Sparten.........................................................65 The Family...................................................94
Spath, Christoph - Fluxus............................70 The Listener.................................................92
Spector.......................................................108 The Partisans II - Freedom Fighters (ATW)
Sphere of Influence (ATW)........................155 ...............................................................154
Spider.........................................................139 The Sleep.....................................................94
Split Ritual II...............................................66 The Tooth (ATW).......................................153
Standing Figure..........................................127 Theel, Gunnar - Nature's Laugh.................114
Standing Vase with Five Flowers...............113 There My Little Pretties.............................142
Steel Flat......................................................73 Three Figures...............................................45
Steele, Larry - Shiva...................................111 Three Graces........................................77, 113
Sternal, Tony - Vertical Form 92.8 and Time for Fun (SJCA).................................157
Vertical Form 92.10.................................94 Time Reversing............................................82
Stewart, Dana - 12 Fantasy Animals............71 Tobin, Steve – Rebirth (ATW)...................155
Stewart, Dana - Sue’s Nightmare ................72 Tobin, Steve – Roots....................................53
Stewart, Dana* - Lester................................71 Tobin, Steve – Termite Hills........................54
Stielow, Hartmut - Zwei Quadrate.............112 Torso..........................................................146
Still Speach................................................136 Tower.........................................................102
Stolz, Fisher – Sphere of Influence (ATW) 155 Transduction - Hamilton..............................69
Stone Pile...................................................114 Transit (ATW)............................................149
Strang, Robert - Solemn.............................112 Trapp, Wayne - Geometry of the Cosmos....54
Strong-Cuevas - Arch II.............................134 Tree of Life (ATW)....................................149
Strong-Cuevas - Arch II, Set II...................112 Trio............................................................102
Strong-Cuevas - Two Face Telescope.........112 Two Face Telescope...................................112
Strzelec, Patric - Woman in a Bathtub........113 Two Figure Composition...........................131
Sue’s Nightmare ..........................................72
Sugerman, George - Doubles.......................72 U
Sumerian figures 14 and 23 (ATW)...........150 Unitas (ATW).............................................153
Summer Thinking........................................84 Untitled........................................................93
Summertime Lady......................................139 Untitled (Devrishian, 3 works).....................79
Sumo..........................................................111 Untitled (Pepper).........................................91
Sundial.........................................................80 Untitled (Young)........................................123
Surls, James - Standing Vase with Five Untitled Marble III (SJCA)........................157
Flowers..................................................113 Urchin..........................................................49
Symbolism I.................................................90 Use of Memory..........................................106
T V
Tabletop I...................................................133 Van Alstine, John - Juggler........................147
Takaezu, Toshiko - Three Graces...............113 Van Alstine, John - Schiabo Rounder.........114
Tatarovitch, Katrina - Mirage.......................94 Van Alstine, John - Stone Pile....................114
Teatro XI....................................................134 Van de Bovenkamp, Hans - Cock-a-doodle-
Teatro XVII (ATW)....................................156 doo...........................................................55
Tempio Bretton..........................................100 Van de Bovenkamp, Hans - Sagg Portal.......55
149
Van Tongeren, Herk - Teatro XI....................134 Witkin, Isaac - Madam Butterfly...................120

Van Tongeren, Herk – Teatro XVII (ATW). . .156 Witkin, Isaac - Rapunzel Tree.........................74
Vanderbilt, Gloria - Heart's Desire................114 Witkin, Isaac - The Bathers...........................134
Venus.............................................................108 Witkin, Isaac* - Eolith....................................58
Vertical Form 92.10.........................................94 Witkin, Isaac* - Ode to Possum....................121
Vertical Form 92.8...........................................94 Woman in a Bathtub......................................113
Victor - Birth of the Messenger.....................116 Woytuk, Peter - Bull (#4 & 5) (two works).....94
Vladescu, Stefan - Love..................................56 Wright, Autin - Free Form II...........................94
Vladescu, Stefan - Steel Flat...........................73 Wright, Autin - Kordell...................................94
Voulkos, Peter - Bucci and Missoula (two Wright, Autin - Regina..................................147
works).........................................................56 Wright, Autin - The Sleep...............................94
www.isaacwitkin.com.....................................59
W www.kelseysculpture.com.............................129
War Memorial III............................................63 www.maryoros.com........................................91
Ward, Cilfford - Jubilant Dancer.....................73 www.realart.com/hfg/html/modern-html/neri-
Wareham, William – Annoweeka (ATW)........57 html/neri_main.html..................................157
Warner, Dona - Sometimes Wander...............147 www.robressler.com........................................68
Wave.............................................................102 www.sewardjohnson.com..............................129
Wave Hill......................................................110
Were You Invited?.........................................142
Y
Wertheim, Gary - Kneeling Woman..............147 Yang, Yuyu - Lunar Brilliance.........................95
Wertheim, Gary - The Family.........................94 Yang, Yuyu, Dragon's Shrill in the Cosmic Void
Where is Geometry.......................................106 ....................................................................95
White, Bruce – Crustacean (ATW)................156 Young, Larry - Pegasus and Bellerophon......123
Whithead...........................................................2 Young, Ron - Untitled...................................123
Wholley, Jay - La Casa de Bernardo Alba.....117
Wibroe, Susanne - Eye on the Ball*................57 Z
Wilkin, Karen..................................................59 Z-DNA............................................................50
Wilson, Roy - Resting Place............................74 Zeus and Hera II............................................126
Windjammer....................................................80 Zinman, Rhea – Couple, Dual Form, Pillars,
Witkin, Isaac - Garden State..........................117 Reclining Woman (four works) ................134
Witkin, Isaac - Hawthorne Tree II.................118 Zwei Quadrate...............................................112
Witkin, Isaac - Linden Tree...........................118 Zweygardt, Glen - Allentown Council..........123
150
Alphabetical Index
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Docent Notes

Brief Contents – Areas

Detailed Contents – Sculptures..................................... 5

Aesthetics for Docents................................................ 17

Brilliance/Moby Dick/Water Garden/Courtyards...........72

Pegasus/Warming Hut/Monkey King............................89

Harmony/Equator/Dorian/Tabletop I........................... 115

Part of Nature/Rats.................................................... 126

Along the Way........................................................... 135

Seward Johnson Center for the Arts (SJCA)................143

Alphabetical Index..................................................... 145

Detailed Contents – Sculptures

Brief Contents – Areas................................................... 3

Detailed Contents – Sculptures..................................... 5

Aesthetics for Docents................................................ 18

Bullock, Benbow - Albebo...........................................................................................38

Beck-Friedman, Tova - Excerpts of a Lost Forest: Homage to Ashera......................62

Brilliance/Moby Dick/Water Garden/Courtyards...........77

Blitz, Ava - Moby Dick.................................................................................................78

Pepper, Beverly - Untitled ..........................................................................................91

Pegasus/Warming Hut/Monkey King............................97

Johnson, J. Seward - If It Were Time.........................................................................105

Witkin, Isaac - Linden Tree........................................................................................118

Harmony/Equator/Dorian/Tabletop I........................... 124

Part of Nature/Rats.................................................... 135

Accardo, Anthony - Breaking Through......................................................................135

Along the Way........................................................... 149

Alston, Littleton – Tree of Life (ATW).......................................................................149

Seward Johnson Center for the Arts (SJCA)................157

Alphabetical Index..................................................... 159

Aeschlimann, Heinz - Composer I

Barret, Bill - Efflorescence

Barton, James - Constellation

Benshalom, Itzik - Big Vered

Bullock, Benbow - Albebo

Regal gold, azure cobalt blue

Cairns, Christopher - Lydia Mary

Donnan, William - Pinched

Dusenbery, Walter* - Damascus Gate

Ferris, Herb - Heart of Gold

Flemming, Linda - Ex-halations

Fűkő, Béla - Internal Evolution

Gund, Gordon - Flukes

Gyampo, Michael - Matters of the Moment

Hamburger, Sydney - Huerfano

Held, Marion - Three Figures

Houser, Allan - Resting at the Spring

Johnson, Seward - Confrontational Vulnerability

Johnson, Seward - The Hunting Party

Kalish, Howard - Urchin

Katzen, Lila - Pinkney

Mangold, Robert - PTTSAAES 8/01

Morante , G. Frederick - Nude Descending the Stare Case

Otterness, Tom - Z-DNA

Reginato, Peter* - Area 51

Rogers, Andrew - Flora Exemplar

Rosati, James - Shorepoints I

Siegel, Steven - Grass, Paper, Glass

Taradash, Meryl - The Caged Bird Dances II

Tobin, Steve - Roots