Friday, December 16, 2011
Koo de Monde "brings together exceptional artists, designers and artisans with a global marketplace of sophisticated buyers. Our team of experienced curators scours the far corners of the earth searching for the hidden treasures of masters we like to call our exhibitors." And so perhaps it's no surprise they've teamed up with Boston Sculptor Rosalyn Driscoll. Be sure to check out their "touching" interview with Roz, which includes some simply gorgeous images of her work.
Wednesday, October 19, 2011
A summary by Donna Dodson from the recent International Art Residencies and Symposia panel
Mary Sherman set the stage with the history of US residencies. They were designed to promote national agendas in contrast to what they have become, a forum for raising awareness of being a citizen in the world. She gained the perspective of being one among many and an awareness of how other nationalities have conversations with and about Americans. It changed her knowledge of art history to be a part of it in a global sense versus a national sense.
Batu made the point that sharing tools and learning new things from his peers was the part of the symposia that he looked forward to the most. As a teacher, he is energized from the experience of participating in symposia with peers from all over the world and building life long friendships. He also noted the importance of flattening the hierarchy of teacher/student through travel, exchange and sharing. These values are fundamental to his art making practice.
Donna Dodson went to Switzerland with the idea that she wanted to make a pregnant stork figure. The piece was developed in conversation with Kiki Thompson, a resident of Verbier, to celebrate the recent baby boom in town. She planned to use her vocabulary on a larger scale, but in a site specific way to the Alps. The piece changed in conversation with Paul Goodwin, curator to Tate Britain, who challenged her to take a bold risk with the placement of the piece, and not face it to the tourists, but perch it on the precipice of the valley, about to take wing.
Robert Markey described his public art and mural work in Brazil and Cambodia. As an external agent to a community, he is able to re-shape the relationships of street youth to police, and to demonstrate their value to the community. He teaches mural making and drawing skills, and in the process gets a community excited about art. By working internationally, he is able to reach a broader audience through his artwork than through temporary or gallery exhibits, and his art can have an impact beyond his local community in Mass. He brings back a global awareness to his studio practice, for example human trafficking, which is the subject of his recent work.
Roz Driscoll responded to the shape of the rivers, trees, and Greek architecture to create site specific work in residence in England at the Crypt Gallery. She described the process of leaving behind her studio, tools and materials, and making a creative leap, or taking an artistic risk she needed to in order to grow in her work. She brought nothing but she had everything with her, i.e. her experiences, knowledge and collaborative relationships to make new artwork.
John Weidman said as a director of an international symposium he wants artists to come empty, to experience the place, and to create from the heart. He doesn’t want artists to come with a proposal or pre-conceived notion of a piece. In his own work, he often re-visits narratives or themes, but crafts his work in site specific materials, referencing the past, present, future.
Kiki Thompson emphasized three points, Art Culture and Education. 3D foundation brought in a curator at the beginning and the end of the residency to shape the dialogue and conversation. They offered classes to the children in the community to de-mystify the art making process. They brought the artists to Art Basel which pushed her to make a creative leap with her piece, Samsara, or life cycle. She chose to make it black b/c she was responding to the black pieces at the fair the most. Life cycle celebrates birth and death, as a parallel to the seasons of nature.
For Andy Moerlein going to Switzerland and being in the Alps was like coming home to the mountains of Alaska. The people who loved the mountains loved his work the most. For Andy, there was a sharing of himself through his art and an understanding by the residents of Verbier that took place and transcended language. Art bridged the communication gap where meaning and an exchange of value, took place, he gave them art, and they gave him their appreciation.
Laura Baring-Gould described her experiences in Thailand. It changed her perspective of globalization where the stereotype was cheap goods are made in a poor country and consumed by a rich country. As an artist, a maker, and a story teller, Laura is using art to teach Americans about their history, and the Thai people are helping her with their casting techniques, ancient traditions, spiritual practices. They became real to one another, beyond the stereotypes of rich Americans who point at what they want done to working peers in the studio and poor Thai people lacking modern technology to people who are rich in the knowledge of their history, and who have the connectedness of art and culture as the fabric of their lives.
We heard people say that the dialogue would empower the young people in the audience to try out their own ideas in the world. We hope our experiences would encourage the students to take advantage of opportunities to travel abroad and learn from their experiences by reflection and peer dialogue. All of the presenters shared an idea that they wanted to put into place with the help of other people and resources in the community. That’s how we make things happen.
Thank you very much to our EVENT Hosts and SPONSORS:
The Derryfield School & Swissnex Consulate of Switzerland
Mary Sherman is the Director of TransCultural Exchange, an organization dedicated to promoting international art and the understanding of world cultures. Besides her work as an advocate of international creative dialogue, Mary Sherman is an artist and critic. She has participated in residencies in Romania, China, Korea, Chicago and was recently a guest artist at PROGR in Bern, Switzerland. Ms Sherman was an Artist in Residence of Mechanical Engineering at MIT, Cambridge MA.
Laura Baring-Gould, sculptor/installation artist. With extensive travel and work experience in various international settings (Mexico, Ireland, Southeast Asia), Baring-Gould received a 2008 Fulbright grant for artistic investigations in bronze and bamboo in Thailand. From 2006 - 2010 Baring-Gould lived and worked in Thailand creating public art commissions. Her presentation will focus on observations of how art and art-making are differently practiced and culturally valued, and the opportunities present in meaningful global interaction.
Sculptor Rosalyn (Roz) Driscoll just completed a summer artist's residency at Space, a program supported by Dartington Hall Trust, in Devon, UK. Her sculptures explore the sense of touch and the experience of the body. Driscoll’s engagement with touch and perception has led to her participating worldwide at conferences for neuroscientists, cognitive scientists, engineers, philosophers, designers, art historians, artists, and people working with disabilities. Her work has been exhibited in the US, Europe and Japan. Ms. Driscoll has received awards from the New England Foundation for the Arts, Massachusetts Cultural Council, and Helene Wurlitzer Foundation of New Mexico.
Robert Markey is a painter, sculptor and multimedia artist. He has been traveling to Brazil and Cambodia for a number of years to work with disadvantaged kids creating mosaic murals. He is committed to purposeful community arts investment.
Batu Siharulidze, Associate Professor at BU and Director of the Graduate Sculpture program. He has a long resume of international residencies in China, India, Turkey, Great Britain, USA, the Netherlands and Georgia.
Kiki Thompson has exhibited in New Zealand, Switzerland, New York, California and London. Ms. Thompson is Co-founder of the Verbier 3-D Sculpture Park Residency and was a participating artist in its first edition in 2011. She lives and works in Verbier, Switzerland.
John Weidman is the Director of the Andres Institute of Art (the site of an annual International Stone Symposia) as well as Director of the Nashua NH Sculpture Symposium. Besides his responsibilities as a Symposia Director, John is an internationally known sculptor who has participated in two or more international residencies/symposia annually for over a decade.
Donna Dodson graduated cum laude from Wellesley College in 1990 with a Bachelor of Arts. Since 2000, Dodson has been honored with solo shows nationwide for her wood sculptures. Dodson enjoys public speaking, and has been a guest speaker in conferences, panels and forums at museums and universities in North America . She is a member of the Wellesley College Friends of Art and She won a George Sugarman Foundation Grant in 2007. In 2011 she participated in the Verbier 3D Foundation's Artist Residency and Sculpture Park in the Swiss Alps where she created monumental outdoor sculpture.
Andy Moerlein has an extensive resume of public art works. His work has been shown in museums, sculpture gardens, and galleries from Alaska to New York. In 2011 he participated in the Verbier 3D foundation's Artist Residency and Sculpture Park in the Swiss Alps.
Mr. Moerlein has been an arts advocate, educator, and professional juror for over 30 years. He has been a teacher and gallery director at the Derryfield School in Manchester NH for 15 years. Moerlein holds a BA from Dartmouth College and an MFA from Cornell University. He lives in Bow, NH.
Wednesday, October 5, 2011
We are pleased to announce the opening of the public art installation Passage at the new South Mountain Community Library. Passage is a multi-faceted public artwork that focuses on poetry and the landscape of South Phoenix.
The Four Poetry Trellises span the path as it runs past the Library and towards the Western Canal. Letters welded to the canopy project shadow lines of poetry onto the path. The four couplets were written by noted local poet Alberto Ríos, meditating on the South Mountain landscape.
The three Acoustic Chairs are grouped by the Library entrance. Sitting in these Chairs,
people experience intimate readings of poetry. The collection of poems was curated by Ríos. The collection features 19 poets with writings about that draw on South Phoenix and the landscape of the area.
Jumbled steel letters embedded in the concrete sides of the Chairs and in the surrounding pavement encourage visitors to make their own words and poetry.
For more information please visit:
South Mountain Community Library, 7050 South 24th Street, Phoenix, Arizona 85042
From the HarriesHeder website:
"Over the past 8 years we have been involved with the rapidly changing environment of the South Mountain area of Phoenix. During that time this area of citrus orchards and flower farms became a built-up residential community. We have been able to contribute to the pedestrian, bicycle and equestrian connections, and to the public image of this community through a series of projects: Arbors & Ghost Trees for Baseline Road and The Zanjero’s Line for the Highline Canal Trail that have been completed and the soon to be built Western Canal Bridge. Passage creates another link in these trails, one that relates to the others and adds new artistic ideas particularly fitting for the new South Mountain Community Library.
Passage is a multi-faceted, collaborative public artwork. The South Mountain Community Library is operated jointly by the Phoenix Public Library and South Mountain Community College. Used by students and the community at large, the Library is a magnet for community identity and the spirit of learning. To reflect this energy, we wanted to integrate visual elements with words. With the help of noted local poet, Alberto Ríos, we focused with poetry onto the South Mountain landscape, the quality of words, and the contents of the Library. The project consists of four Poetry Trellises and three Acoustic Chairs.
This just in from the New York Times, September 23, 2011 on Boston Sculptor Joseph Wheelwright's show on view through May, 2012
It’s a Giant Person! And It’s a Tree? It’s Art
By SUSAN HODARAPhoto credit: Margaret Fox “Pine Man,” from the Joseph Wheelwright exhibition in Katonah. The tallest of the five tree figures on display is 27 feet high.
ONE figure towers over the Katonah Museum of Art‘s South Lawn, bark-skinned, wild-haired, branching arms and fingers splayed. Another poses by the museum’s entrance, and three more take their places in the sculpture garden, blending in with the over-100-year-old Norwegian spruces as if they belong to the landscape, yet gesticulating in a way that is distinctly human.
The monumental works in “Joseph Wheelwright: Tree Figures,” from 16 ½ to 27 feet tall, began life upside down as live trees rooted in the soil on the artist’s 40-acre property in East Corinth, Vt.
“I start by looking for trees with bifurcated trunks,” said Mr. Wheelwright, a sculptor who lives in Boston with his wife, Susan MacGregor Wheelwright.
“If the hips and the swing of the legs look good, I poke down into the roots to see what the tree is going to give me for shoulders. Sometimes you can follow the root structure all the way out to the fingers.”
Having identified a promising specimen, Mr. Wheelwright, 63, fells the top portion of the tree, which will not be part of the figure, and then, using customized equipment, uproots and inverts the remainder.
“It’s a big deal,” he said. “You have to use a crane to gently remove it, or sometimes I build a ramp so when the tree falls it pulls the roots up and out.”
Completing the sculpture involves adapting and adding to the existing growth to form the head and facial features and position the arms and hands.
“I use every part of the tree that is appealing, but I don’t have any rules about not using other materials,” Mr. Wheelwright said. Often the heads are carved from laminated pine planks and then covered with bark.
The figures are made from an assortment of species. The three pieces in the museum’s sculpture garden, “Yellow Birch Figure,” “Cherry Figure” and “Oracle,” are made from yellow birch, cherry and pine trees.
Mr. Wheelwright has found that hornbeams, relatively short hardwood trees, are particularly suited to his purposes.
“They have fewer roots, but they always send out a few strong shoulders,” he said. “Smoke Jumper,” by the entryway, was created from hornbeam and then bronzed (it is the artist’s second bronzed large-scale tree figure).
The five tree figures in Katonah, sculptured from 2006 to 2008, are part of a group of 10 that Mr. Wheelwright, who also carves massive stone heads, has produced since 2003.
Since the 1970s, he has also been fashioning smaller figures from roots and branches. Five of those pieces, bronzed and ranging from 10 to 32 inches tall, are on view in the museum’s atrium through the end of the year.
Decades of trolling for sources in the forest have convinced Mr. Wheelwright that trees and humans share a common ancestor.
“There’s no question that we are descended from the same organism,” he said. “You see it all the time: an armpit will form at the bottom of a branch; then it will mound like a shoulder. And many times I’ve seen fingers that seem to grow like a hand, with a spray of three or four, and then something thicker that heads down like a thumb. It’s quite astonishing.”
Putting the tree figures on display at the Katonah Museum was a labor-intensive project that involved flatbeds, forklifts and slings.
“It took a week to get them here and unload them and set them up in the garden,” Nancy Wallach, the museum’s director of curatorial affairs, said.
The installation, she said, was one of the museum’s most ambitious to date, in terms of both the size of the sculptures (the heaviest weighs about two tons) and the complexity of securing them in the ground.
The tree figures will remain on view through next spring, giving museumgoers the opportunity to experience the works as the seasons change.
“Just wait till it snows,” Ms. Wallach said. “Can you imagine?”
“Joseph Wheelwright: Tree Figures,” through May in the Marilyn M. Simpson Sculpture Garden and on the South Lawn at the Katonah Museum of Art, 134 Jay Street (Route 22). For more information: katonahmuseum.org or (914) 232-9555.
A version of this article appeared in print on September 25, 2011, on page WE10 of the New York edition with the headline: It’s a Giant Person! And It’s a Tree? It’s Art.
Thursday, June 30, 2011
During the month of April, Roz Driscoll had the first artist’s residency at Space, Dartington Hall, Devon, UK, in preparation for a collaborative multi-sensory installation, Just Under the Surface, in Crypt Gallery, St Pancras Church, London, UK, May 6-19, 2011
April was the warmest, driest, earliest spring in English memory, providing me with a glorious month at Dartington Hall, a 2000 acre estate in Devon with a rich legacy in progressive education, environmental practices and the arts. The extraordinary gardens, grounds and community of Dartington Hall and town of Totnes created the context for a rich, productive month. I worked in a spacious studio in the former home of the renowned Dartington College of the Arts, where I made sculptures and drawings in preparation for the installation in London.See www.dartington.org.
In London, we installed Just Under the Surface, an immersive, multi-sensory installation in the Crypt Gallery, a labyrinthine crypt under St Pancras Church. My collaborators, with whom I had worked for over a year on the project, were Tereza Stehlikova, film-maker, Bonnie Kemske, ceramacist, and Anais Tondeur, textile artist. We considered the crypt our fifth collaborator.
Drawing on the mythological imagery of the neoclassical church of St Pancras, I envisioned the crypt as the Greek underworld—Hades, land of the dead. Five rivers flowed through Hades: Lethe, river of forgetfulness; Styx, river of hate; Cocytus, lamentation; Acheron, sorrow and pain; and Phlegethon, fire. I had made the five rivers in my studio in Massachusetts during the winter and shipped them to London. During the Dartington residency I added two rivers to reflect the modern psyche: the rivers of disconnection and meaninglessness. The installation was richly sensory and immersive, engaging visitors in body and soul.
See www.rosalyndriscoll.com and www.artintouch.co.uk.(images below L to R: River of Disconnection, River of Fire, River of Hate, River of Meaninglessness)
Tuesday, May 17, 2011
CALL FOR ARTISTS: Request for Qualifications
DEADLINE: August 15, 2011
The Edgar Allan Poe Foundation of Boston, Inc. (the Foundation), in coordination with the Boston Art Commission, seeks qualifications from artists, artisans and/or designers to develop public artwork(s) celebrating Poe and his creative work. The site is the Edgar Allan Poe Square, located in Boston, MA at the southeast corner of Boylston Street and Charles Street South and is a roughly triangular brick paved plaza of 1,700 square feet.
Poe was a master craftsman, a versatile writer, and is considered America’s first great literary critic. Additional information on the site, and on Poe, his achievements, and his ties to Boston, can be found on the Foundation's website.
BUDGET: Up to three artist/designer/teams will be paid an honorarium of $1,000 to develop and present site specific proposals. The Foundation proposes a budget of $100,000 for artwork(s) at Poe Square.
ELIGIBILITY: Artists, artisans, and/or designers must be at least 18 years old. Priority will be given to those who are not currently working on a public commission in the City of Boston or who have not had a public art commission over $100,000 installed in Boston within the last two years. There are no geographic limitations, however the Foundation cannot provide housing or transportation.
APPLICATION: Apply online with all materials submitted in digital format. Full RFQ and application through CaFE™. There is no fee to apply.
ARTIST NOTIFICATION: September 16, 2011 by e-mail
FOR FURTHER INFORMATION:
Please contact: Jean Mineo, Project Manager
Boston Art Commission: http://www.publicartboston.com/
Edgar Allan Poe Foundation: http://www.poeboston.org/
Find the Foundation on FacebookCaFE™: http://www.callforentry.org/
Monday, May 2, 2011
Boston Sculptors Donna Dodson and Andy Moerlein selected to participate in the first high altitude Sculpture Park and Artist Residency in Verbier, Switzerland.
Go Tell It On The Mountain: Towards a New Monumentalism
Verbier 3-D Sculpture Park and Artist Residency
Verbier, Switzerland (May 1, 2011) - The 3-D Foundation is pleased to announce the opening of the first high altitude Sculpture Park and Artist Residency in Verbier. For five weeks, (May 21 – June 25, 2011) a roster of emerging and critically acclaimed Swiss and New York-based artists are invited to create a museum without walls.
The curatorial premise set by Paul Goodwin, Curator of Contemporary Art at Tate Britain, will present "GO TELL IT ON THE MOUNTAIN: TOWARDS A NEW MONUMENTALISM". Artists varying in disciplines are invited to create an individual, site-specific monumental sculpture for the Verbier 3-D Sculpture Park.
The Verbier 3-D Sculpture Park and Artist Residency proposes a new approach to public art and monumental sculpture based on ecological and social sustainability; awareness of global cross-cultural issues and local community engagement; and man’s relationship to the mountains.
The sculptures created in Verbier, will be exhibited 12 months, braving the four seasons at a high altitude of 2100 meters (6,800 feet), between Ruinettes and La Chaux. The Verbier 3-D Sculpture Park is free to the public and only accessible by foot, bike, skis or dogsled.
Free educational classes for local children between the ages of 5 to 12 years old will be offered in June, allowing the children to interact with international artists.
Juried by the 3-D Foundation Board of Advisors, participating artists include: Will Ryman, Andy Moerlein, Kiki Thompson, Etienne Krähenbühl, Musa Hixson, Timothy Holmes, Donna Dodson, Gregory Coates and Sam Bassett.
The opening reception for the sculpture park will take place on June 25, kicking off with “Burning Mad,” a live performance piece where a sculpture is set on fire. In addition, ArtBattles will host one night of their European Tour in Verbier. New York painters, Lexi Bella and Sean Bono will battle two local Swiss artists, Gregory Corthay and Nicolas Constantin. (http://www.artbattles.com)
Renowned artist, Will Ryman will send a rose sculpture from his acclaimed installation, “The Roses,” currently exhibited on Park Avenue in New York City until May 31, 2011. The single rose, representing a gesture of friendship to the Swiss Alps, will be installed in Verbier and remain on display for three months, coinciding with the Verbier Festival. After Verbier, Ryman's sculpture will travel to Miami to be featured during Art Basel 2011.
Go Tell It On The Mountain: Towards A New Monumentalism, Verbier 3-D Sculpture Park and Artist Residency, is sponsored by The 3-D Foundation, la Commune de Bagnes, l’Etat du Valais: Etincelle, TeleVerbier, VERBIER St-Bernard and Atelier D’Architecture Christophe Corthay.
The 3-D Foundation is a not-for-profit organization, founded by New York-based artist Madeleine Paternot and Verbier-based sculptor Kiki Thompson. Its mission is to promote contemporary art and culture, to focus on nature and community and to provide educational workshops. <http://www.3-dfoundation.com>
For further information regarding the project and its featured artists, please contact Alaina Simone at firstname.lastname@example.org.
Wednesday, April 20, 2011
Thinking about Peter's letter I am reminded of a couple of quotes from Chihuly: I put a lot of stuff together until it looks right and: there is never too much. I also think the green piece is exciting to look at and seems to exist without a need for intellectual content. I also agree with Peter's take on Smee.
- Dan Wills
Interesting. The reason that I never took to the lathe or to the potters wheel,
fun for a while, was the intractable roundness.
Peter DeCamp Haines
On Sun, Apr 17, 2011 at 12:50 AM, Peter Haines wrote:
Sebastian Smee, art critic for The Boston Globe, was awarded the Pulitzer Prize for criticism today “for his vivid and exuberant writing about art, often bringing great works to life with love and appreciation.” The prize, which is the preeminent award for newspaper journalism, comes with $10,000 cash. Globe art critic Mark Feeney won the Pulitizer Prize for criticism in 2008. This seems to make the Globe the only newspaper in America have two full time staff Pulitzer Prize winning visual art critics.
Saturday, January 29, 2011
Here's a thought: We labor as sculptors not knowing really whether it's Art with a capital A or not.... but we pour our life force into the process none-the-less, we exhaust ourselves mounting shows, we scrounge and borrow and go broke at the last minute, hoping for that moment of fire when the work comes alive and we can't take our eyes off it. In my own work, I never know for sure, but.... in Your Work all of you.....I find inspiration. Three examples: walking into Charles Jones' show, I had to shout out loud, so dazzlingly strong and authoritative the drawing and sculpture was. Looking carefully at Rosalyn Driscoll's piece The Nothingness of Fire, it seemed a tour de force, like nothing I'd ever seen, yet also like everything...flesh, mountain, river...the light at the heart of the world. And at the Scoop show one night, there was a cluster of onlookers around David Lang's piece in the window absolutely mystified, shouting their amazement "at the pigs that could fly." Thank you all for your moments of fire.
What's YOUR experience? Let us know -
Jan. 22 - Feb. 21, 2011
Jewitt Gallery at Wellesley College
This exhibition explores how an artwork begins with an encounter between an object or image and the artist. The found form, not necessarily interesting or beautiful to others, is so compelling to the artist that it must be engaged with, seized even. Intuitively the artist understands the possibilities this form offers for reinvention. And thus the art-making process begins. There will be dialogue surely, sometimes a grappling, a coaxing or a nudging of this form until new light or a new life emerges.