IN THIS ISSUE
Sculpture Guide 1
Newsletter of the New England Sculptors Association Web Spotlight 4
Member News 5
This special summer issue is devoted to outdoor sculpture gardens, parks and other out- Member Profile 5
door sculpture venues perfect for the summertime. After our long, hard winter, it’s time Opportunities 5
to get out and about and enjoy New England’s wealth of sculpture! Feature: Here/There/Here 6
A Guide to Outdoor Sculpture DIRECTORS
in New England President
An idiosyncratic guide to some well-known, (617) 244-8147
MIT—List Visual Art Center
lesser-known, and mostly free outdoor 20 Ames Street Bldg E15, Atrium level Vice President
sculpture in our area. Check the websites, or Cambridge, Massachusetts Jay W. Hungate
call for hours or complete directions. 617-253-4680 (978) 458-6704
EASTERN MASS./METRO BOSTON al/index.html Mel Atler, Esq.
AREA Wonderful (617) 232-8530
examples of the Eleanor Adams
Forest Hills Cemetery and work of Calder, (508) 785-0228
Educational Trust Jennifer Bartlett,
Calder, Heizer, Membership
Jamaica Plain, Massachusetts
Nevelson, and Henry Moore on the Charlie Fields
617-542-0128 campus of MIT in Cambridge. The List
Open daily, 8:30 am to dusk. Center has changing exhibits of contem- Corresponding
Forest Hills has been called an open air porary art, and is free and open to the Secretary
museum. It is home to a nationally rec- public. Muriel Angelil
ognized collection of 19th and early (617) 566-2597
20th century memorial sculpture and Arts on the Point Sculpture Park Publicity
architecture. This summer the Trust University of Massachusetts Claudia Olds Goldie
will host “The Four Elements,” work Boston Campus (617) 969-0775
by contemporary sculptors, June 15 – http://www.artnut.com/frusa.html Internet Coordinator
Sept. 30. A short walk from the Forest In September, 2000 the first sculpture Melanie Zibit
Hills Station in Jamaica Plain, Mass. was installed on this 200+ acre sculpture Goldman
Visit their website or call 617-524-0128 park, a former landfill site that over- (617) 552-6225
ext. 22 for directions. looks Dorchester Bay. “Huru” is a 55'
high, 18-ton I-beam sculpture by Mark Members at Large
DeCordova Museum DiSuvero. Other work by sculptors who Michael Guadagno
and Sculpture Garden (978) 774-3042
have donated or loaned their sculpture
51 Sandy Pond Road, Lincoln Dee Cleary
for this project include: Sol Le Witt,
Massachusetts (603) 483-2686
Dennis Oppenheim, Ursula von
http://www.decordova.org/ Walter Philips
Rydingsvard, Magdelena Abakanowicz, (781) 736-2452
The sculpture park is free of charge Tony Smith, and Maya Lin.
and open year round during daylight Julia Marino
hours. There is an admission charge
for the museum itself. Maps and more Newsletter Editor
information at their website. Carolyn Wirth
continued on page 2
Dr. Seuss designed the sculptures based on beloved
Summer sculpture Seussical characters. The Dr. Seuss National Memorial
continued from page 1 Sculpture Garden is located at the Quadrangle, State &
Chestnut Streets in Springfield. Park free in the
Springfield Library & Museums’ lot on State Street.
Make Way for Ducklings! Additional public parking lots are located nearby.
Boston Common and the Boston Public Garden
Don’t forget the “Make Way for Ducklings” bronze Chesterwood
sculpture by Nancy Sch¨ n and other wonderful and May–October, Daily 10–5, Admission charge.
world-famous sculpture on Boston Common and the 413-298-3579
Public Garden. Visit the Robert Gould Shaw Memorial 4 Williamsville Road, Stockbridge, MA 01262
by August Saint-Gaudens, then continue down http://www.chesterwood.org
Commonwealth Avenue. Sculptor Olin L. Warner’s Home and studio of Daniel Chester French, sculptor of
William Lloyd Garrison monument is on the the Lincoln Memorial. Visit the studio, garden, and
Commonwealth Ave. Mall between Exeter and woodland walk, the site for a contemporary sculpture
Dartmouth Streets, and many other bronze monuments path assembled by a different guest curator every year.
lead from the Common down a mile-long stretch of The studio is beautifully situated, and features a sur-
this tree-shaded mall. The Fenway Cultural District prising narrow-gauge railway which French used to
website has a complete walking tour list at move his monumental sculptures-in-progress outside
http://www.fenwayculture.org/public_art.htm to view them in natural light.
Cairn Croft Sculpure Garden Berkshire Botanical Garden
Dover, Massachusetts Open May–October 10–5 daily. Fee.
http://www.cairncroftsculpture.com/landscape.html 413-298-3926 Fax 413-298-4897
Cairn Croft is a 2 1⁄2-acre private garden located in the Routes 102 & 183, Stockbridge, MA 01262
Boston suburb of Dover, Massachusetts. The garden http://www.berkshirebotanical.org
was designed and built over a period of 24 years by The garden hosts Sculpture Now, June 14–October 31.
Kevin Doyle, landscape designer. Cairn Croft is a pri- New sculpture, site-specific works, and installations by
vate home garden and may be visited on designated local and national artists under the curatorship of Ann
days in spring and fall. Each summer Cairn Croft hosts Jon transform the Botanical Garden.
a show of work by Boston area sculptors, much of it
intimate in scale. Williamsville Inn Sculpture Garden
Route 41, West Stockbridge
The Maudslay Outdoor Sculpture Exhibit runs from This year’s Williamsville Inn Sculpture Garden exhibi-
June 8 to June 28 in Maudslay State Park on Curzon tion, held from Memorial Day through mid-October, is
Mill Road, Newburyport, MA. Pick up a free catalogue an invitational exhibition of works by about 20 artists,
in the little school desk at the main park entrance—this most of whom live and work in the Berkshires or
has a site map marking the numbered locations of the spend part of the year there. The Renaissance Guild, a
installations along the trail, a photo of each piece and local nonprofit organization of artists, organizes and
short statements and bios for the artists. For more info coordinates the exhibition. The show is hosted each
or directions, call Bert Snow at 978-462-0423. An open- year by the Williamsville Inn which is owned by Gail
ing reception and tour with the artists is 3:00-6:00 pm, Ryan, herself a former theater artist and friend of many
Saturday, June 14. area sculptors. Free.
Left: The Horton Court at
the Dr. Seuss National
The Dr. Seuss National Memorial Sculpture Garden
Memorial Sculpture Garden
State & Chestnut Streets, Springfield, MA
in Springfield, Mass.
A life size Horton the Elephant? A Yertle Garden? Just a
couple of the attractions in what must be the wackiest
sculpture garden on the continent. The stepdaughter of
New England Sculptors Association
North Adams, Massachusetts
Gallery hours: 11am–5pm, closed Tuesdays The Connecticut Sculpture Park contains large outdoor
Gallery Tours: Free public tours are offered Saturdays sculptures on 35 acres at the historic Averill farm in
and Sundays at 12pm and 3pm. New Preston. The farm, bought by the Averill family in
Admission: $7 adults | $5 seniors & students | $2 chil- 1746 from Chief Waramaug, is now primarily quince
dren 6-16 | free to members and apple orchards. Peter Lundberg, who grew up in
Summer/Fall hours (6/1–10/31): 10am-6 pm daily the area and has helped develop sculpture parks in
www.massmoca.org Sweden and Berlin, founded the Connecticut Sculpture
The vast, 13-acre campus located in the old Sprague Park and is showing several of his own works, built of
Electric capacitor factory is a unique site with lots of gray stainless steel and concrete. Other artists represent-
unobstructed indoor spaces and courtyards to display ed include Sandy MacLeod, Mark DiSuvero, Deborah
site specific sculptures that may not previously have Masters, Claes Hake, Strech Rumaner, and John
been executed because of space requirements. An exam- Clement. The park is open at all times and free to the
ple is “Tree Logic” by Natalie Jeremijenko, an public. For more information, call 203-263-6783.
Australian artist, who created an unusual environment Directions: I-84 to the Route 7 North exit. Follow Route
for six trees growing upside down in giant metal 202 past New Milford to New Preston, right on Baldwin
planters. “Clocktower Project” by Christina Kubisch, Hill Rd., right after 4-way intersection after top of hill.
German, consists of solar cells, computer, sound sys-
tems and speakers assembled in the old 4-faced clock
tower which had not tolled its two massive bells since Seaside Sculpture Park / Bridgeport
1986. Now recordings of the tolling bells played by A beautiful park designed by Calvert Vaux and
Kubisch can be heard from sunrise to sunset—the Frederick Law Olmstead is now home to large-scale
brighter the sun the louder they toll. Other sculptural contemporary sculpture by Connecticut and itnerna-
works by Cart Andre, Dan Flavin and John tional sculptors. From Route 95, take Exit 27. Go right
Chamberlain can be found inside. Don’t miss MoCA! towards water, follow signs to Seaside Park.
Marble Street Sculpture Park
The Carving Studio
Marble St. Extension, West Rutland Vermont
Contact: Mike Winslow, studio director
The Sculpture Park, created during the Vermont
Bicentennial Sculpture Symposium, is situated at the his-
toric quarries of West Rutland and features regional artists
such as Amore Aschenbactt, Calter, Cummin, Dorsey,
Giblin, Gorgoza, Laxman, Rose, Spath, and others.
Claes Hake, “The Arch”, “Untitled” at the Seaside
Andres Institute of Art Sculpture Park in Bridgeport
Brookline, New Hampshire
This summer, read member Marty Carlock’s valuable
The Andres Institute is the largest sculpture park in
book, “A Guide to Public Art in Greater Boston”—see
New England. See article by Joyce Audy Zarins on
sample pages at NESA’s website,
pages 6 and 7 of this issue.
Web Spotlight www.artistsincanada.com/leguen
Snow, Ice, Sand, and Fire:
A Canadian sculptor shapes the elements
native of France, and now a resident of Saskatoon, Saskatchewan,
Patricia Leguen travels the world creating ephemeral sculptures from snow, ice, sand, and
fire. A new website showcases her extensive portfolio of work done at international festivals
and competitions, like the sand piece, “Red Cloud,”pictured below. Here’s what Patricia has to say
about the fragile, yet intensely demanding materials she uses:
“Every ephemeral sculpture is a challenge. You have to create a piece outdoors in a set amount
time in all kinds of weather. You have to learn how far you can go with the material before it falls
down or collapses. But it is as if time stands still, you are in a different state of mind, a state of elation
where you do not feel the pains and aches, where you forget about the intense cold or heat. You
immerse yourself in your work, you are always testing yourself. Monumentality is tempting and
takes the artist even further than he thinks. Dimensions are not only felt intellectually but physically:
you become part of your sculpture. And as soon as you finish it you distance yourself from it and
you do not even think about what will happen to it. You are already thinking about the next one…”
Leguen explains how she begins a large piece in sand: “Sand has its limitations as every part of
your sculpture has to been supported by another. Your sculpture is judged in terms of narrowness,
verticality, cut-throughs and overhangs. If something collapses, you have to start over again. But first
you have to nail together two-foot high wooden forms of different sizes. You shovel sand in the base
form, add buckets of water and use a tamper to pack the sand until the form is filled up. You put the
next form on top, fill it up and you continue until your pyramid is finished. You take the top form off
and start carving, using the next form to stand on, then you take the next one off and so on. You can
hand pack the sand without any forms, but you can only
go up to 8 feet or so.”
Leguen’s love of the process and physicality of sculp-
ture has led her not only to create giant works of art, but
has also taken her around the world as she became the
only Canadian sculptor competing at international snow,
ice, sand, and fire competitions and one of a handful of
women in the world. She has attended events in France,
Belgium, Mexico, the UAE, China, Japan, the UK,
Greenland, Russia, Italy, Norway and the US. Patricia
will be carving 20,000 tons of sand in Belgium, June
22–July 11 with 50 other sculptors (www.sculpta.be) and
from August 9–10 she will be competing solo at the
Canadian Sand Sculpture Championships in Parksville,
on Vancouver Island.
Pictured here is “Red Cloud,” a Stoney Indian from
Alberta, Canada, carved in 22 hours at the 2002 World
Sand Sculpture Championships and winner of the award
for Best Handbuilt Solo (5 ft tall x 10 ft wide x 10 ft deep),
in Harrison Hot Springs, Canada (www.harrisand.org).
Visit her website to learn more:
New England Sculptors Association
Member Profile: Joyce Audy Zarins Member News
hen I went back to the Museum School for • Frances Pratt currently has two site-specific commis-
my degree I signed up for lots of painting sions under way: one in Marblehead and the other on
classes because that’s what I had been Martha’s Vineyard. They will be installed in late June.
exhibiting, but I met with a surprise. There was a lunch
time non-credit six week intro class called “Arcs and • Joyce Audy Zarins will have a piece in the Navy
Sparks” and I took it even though I had never even Pier Walk 2003 exhibit in Chicago. The opening is
once thought about using steel in my work. The first May 7 and the work will be there until mid October.
time I bent a piece of 1/4" steel with a torch it was as One of the requirements is that the work must with-
though I could feel the molecules shift. Suddenly this stand 100 plus mile an hour winds! Joyce says, “I’m
industrial material seemed very organic and I was just about 100 percent certain that my piece, though
amazed that I could manipulate it. That was in nine- big for me, will be the smallest one there. It will be
teen ninety-five and I’ve been working with steel and five feet high, three feet deep and eight feet long, will
other three-dimensional media ever since. weigh about 700 pounds, and is of painted steel...the
After graduation I rented a corner of a welding installation guy said that one of the pieces will be
shop from two guys—Scott and Alan—who worked on thirty feet all and another weighs 30,000 pounds!”
fire apparatus. We worked elbow to elbow, they on fire There will be an exhibit of the maquettes at Gallery
trucks and ambulances and me on sculpture. There 37, also in Chicago, from April 14 until May 7.
was a steady stream of guys coming into the shop to continued on page 8
schmooze and some of the conversations we had were
surprising. They’d look at a sculpture and say “but
what is it for?”, and I’d have to come up with an expla-
nation. They would approach a piece thinking it was Opportunities
supposed to “be something”. Sometimes there was a
figurative connection, sometimes not. At first they felt Residency
inhibited because they thought there was one right Deadline: not listed
answer, which they couldn’t see. It was my goal to Duxbury, MA — Art Complex Museum
show them that in art there is no wrong answer. I’d Is seeking visual artists, sculptors, and craft persons
ask them what they saw in the imagery and invariably for a four-week Summer Residency program in the
they’d say what it reminded them of. These exchanges grounds of the museum in a historic home.
helped me see things differently, too. The museum funds housing, studio, program admin-
When they dissolved their business I set up my istration, and a $500 stipend.
own shop/studio in the next town over and I’ve been Contact: Craig Bloodgood
there for three or four years now, working by myself. I Art Complex Museum
189 Alden St., Duxbury, MA 02332
continued on page 8
United South End Settlements is in the process of
creating a new South End Center for Adult Education
(similar to the BCAE model) to open in September.
They are currently interviewing part-time, occasional
teachers for fall and beyond, and are interested in
talking with visual artists for class proposals.
Please feel free to call or e-mail:
Kyle Ingrid Johnson, Manager of Art & Culture
United South End Settlements
566 Columbus Avenue, Boston, MA 02118
At left, a work in progress: Strobus in Joyce Audy Zarins’ studio.
Photo copyright Egils Zarins.
There/here/there: a widening cycle
the paradox of place emerges when artists from
elsewhere show in New England
by Joyce Audy Zarins
excerpted from Art New England, June/July 2002
“The dialectic between place and change is the creative crossroads.
Even when nationalism has dissolved, place persists, in the back of
the mind, in the weight of the step.”
his thought from Mixed Blessings: New Art in a
Multicultural America by Lucy Lippard refers to out-
sider artists, but in the case of any artist traveling
thousands of miles to New England to work, this relation-
ship between home and the exotic, both from the artist’s and the viewer’s perspective, also exists. The art that
happens here in this way has its own particular form of resonance, its energy sparked by the dichotomy between
disassociation and recognition. In the summer of 2001 artists journeyed...from Croatia, the Czech Republic,
Ukraine, Nigeria, Hawaii and the American West to work on outdoor, site-specific sculpture installations at the
Andres Institute’s International Bridges Symposium in Brookline, NH. The works were installed here, becoming
permanently available. In what ways do the migratory nature of this art affect the artists personally and profes-
sionally and how does this reflect on our local audience?
The emotional experience the shift in work environment has on the artist can be dramatic, both personally and
in relation to the work. For the past several summers the Andres Institute, founded by Paul Andres, has invited
sculptors from outside New England to participate in their International Bridges symposium under the direction
of sculptor John Weidman. The artists are given two- to three-week residencies, including a stipend; the 2001 sym-
posium theme was “We Are Here.” Anita Sulimanovic, had exhibited in Croatia, the Czech Republic, Poland and
France, but her journey from her native Croatia to America was her first. The change of environment for her was
startling. “Houses, people, cars, landscape, plants, even the animals and insects which were surrounding me while
I was working at my site” — were so different from those of Eastern Europe. Sited on 140 acres of second growth
mixed woodland, fields and an old granite quarry, the landscape surrounding the sculpture workshop has the typ-
ical raw quality of American forests and hills. Brookline itself, though rapidly growing, has a population of only
4,181 and is zoned primarily agricultural/residential.
For the duration of the symposium, Sulimanovic, like all of the International Bridges artists, stayed with an
American family. Area businesses made dinners and other benefits available. Once in the workshop, the global
artists worked elbow to elbow, language differences aside. Tomas Kus of the Czech Republic did not speak much
English, though his expressive skills and body language bridged most gaps. There were two artists from Ukraine,
one from Nigeria. Most spoke at least some English. Sulimanovic did not feel significant differences between her-
self and the other artists, in spite of language or cultural obstacles because “I think we were all preoccupied with
similar themes in art and life.”
The advantages of the facility, as well as the format and goals of the program have bearing on the outcome.
The workshop building with its high ceiling and cement floors has equipment for working in both metal and
stone, a track crane and access to landscape and quarry. Local contractors volunteer time and heavy machinery to
help with installations. Possible sites for sculpture include wooded and open sites and a small pond, remaining
from past quarrying activities. Space and raw materials are readily available. The Institute’s mission is to provide
education, training and support for artists and to enhance the integration of art and technology. The primary limit-
ing factor is time—the typical two to three week duration is tight for realizing sculpture from conception through
For Sulimanovic, the work executed during the symposium differed from what she would do in her own stu-
dio, in part because the process of site specific installation work, which she referred to as “land art” was itself a
departure. This is a sculpture park in process, where sculptures are sited in raw copses, on and under boulders or
outcrops, or perched among recently cleared fields dotted with tree stumps. Sulimanovic settled on a granite boul-
der only partly visible above the forest floor, a subterranean berg of rock, and adhered modular tiles in a repeating
pattern over part of the surface. Her previous works have been stone, clay or mixed media, sometimes including
New England Sculptors Association
Left: Anita Sulimanovic - “Process”, stone, ceramic, 2001. At the Andres Institute’s
International Bridges Symposium We Are Here. photo: Egils Zarins.
Right: Yevgeniy Pokopov - “Untitled”, painted steel, 2001. At the Andres Institute's
International Bridges Symposium We Are Here. photo courtesy of the artist.
modular elements similar to the shapes she used in New Hampshire. ... Her
transformed boulder, embedded as it is, represents a visual gesture that is now a
component of our own landscape.
Do these artists reflect their own culture in the works they do here? Society is
inextricable from any artists’ vision, a shadow of experience, however sympo-
sium participants as transplanted visionaries contribute not in relation to where
they are from, but in sharing their process as artist citizens of the world. The
Ukrainian Yevgeniy Prokopov’s cast bronze, glass and crystal work executed at
his own studio has a figurative, exotic sensibility, religious content, or fluid
abstraction relying on patinas and curvilinear form. Here in New England he did
something completely different. A look through two catalogs of his work and his
promotional materials reveals only one larger-than-man sized steel sculpture
painted a solid color, only one that uses industrial metal waste in a reincarnation of form. It was the sculpture he
fabricated at the Andres Institute. In Sulimanovic’s case the format of her work here was different, but there was
an echo of form. Prokopov chose a completely new direction from what he had been doing. This was partly due to
the environment at the Institute, where there is no bronze foundry. Instead he had access to scrap steel and weld-
These works are permanently installed and now part of the fabric of New England. Just as the artists experi-
enced the hospitality of the people and environment of Brookline, NH, the host families, construction volunteers
and visitors to the sculpture park came away with an enhanced perspective. Viewers watch the artists’ processes,
touch the sculptures, and build relationships with them over time.
Lippard, Lucy R. Mixed Blessings: New Art in a Multicultural America. (New York: Pantheon Books, 1990), 149.
W ith 140 acres, the Andres sculpture park in Brookline, New Hampshire is the largest in New England. The Institute is
open every day, all year to the walking public, dawn to dusk. There is no charge for admission. This year (September
14–28) the Institute will be conducting their 5th symposium that, with the thesis of "Transitions", will explore the similari-
ties of economic and social changes that West Africa and South America are experiencing. Artists are invited from
Mauritania, Brazil, USA, Senegal, Russia, Uruguay, and Ukraine. Contact John M. Weidman, Sculptor and Director, Andres
Institute of Art, (603) 673-7441
Download a site map (left) and link to the Institute’s
webpage from NESA’s website at:
Driving directions to the Andres Institute:
From Boston, go north on Rt 3 to Nashua, exit 6 to
Rt.130 West to Brookline. Turn left onto Rt. 13 (South) and
look for 98 Rt. 13. See sign.
From Fitchburg area, go North on Rt. 13, once in
Brookline, Andres Institute of Art is on left at 98 Rt. 13, see
From Manchester, NH area, go West onto Rt.101, to
Milford, go South on Rt. 13, travel into Brookline, turn
right at 98 Rt. 13, see sign.
Member News Member Profile: Joyce Audy Zarins
continued from page 5 continued from page 5
SCULPTURE 2003 built my own steel work tables, vent system, etc. and I
The Barn Workshop Gallery have a MIG, oxy-aceletelyne set-up and plasma cutter.
245 Pine Street (Rte. 62) My husband gave me a drill press and my kids a good
Danvers, MA set of hand tools for Christmas one year. My mother
Hours: Daily 10:00a.m. – 6:00p.m. paid for my cordless drill.
Some of my steel work is abstract, but most relates
Mike Guadagno is build- to natural themes, particularly tree related imagery.
ing on the success of last The idea might refer to man’s overwhelming impulse
summer’s “Danvers to control the environment, or sometimes to call atten-
250th Anniversary tion to the design of something by making it much big-
Sculpture Exhibit,” a ger. An eight-foot maple seed becomes an exploration
powerful presentation of a beautiful shape and symbolic of potential, of expo-
that showcased 120 nential growth. A horseshoe crab suspended vertically
sculptures by 38 New refers to a surprise experience in nature. Some sculp-
England area artists. tures are references to the arts of other cultures. All are
The Barn Workshop about the essence of being human and the edge
of Danvers is again spon- between society and nature.
soring a town-wide I’ve exhibited mainly in New England, getting
indoor and outdoor into more and more shows curated or juried by signifi-
sculpture exhibition. cant art world personalities. In December a friend told
Members of NESA and me about the Navy Pier Walk show in Chicago, so I
other artists were invited made a maquette and my proposal was accepted. The
to play a major role in sculpture, called Strobus, has taken me some months to
this exciting event. fabricate. The Pier Walk website says that five to seven
Sculpture 2003 presents to million people will see that show, and there will be a
the public a rich collec- full color catalogue. I’ve never been to Chicago, but I’m
tion of indoor and out- looking forward to it.
above: “Untitled” by Mike
door multi-media sculp- Guadagno, 27x10x8”, white
ture that enhances and carrara marble
New NESA member Joyce Audy Zarins sculpts, writes,
accents the beauty of its and curates sculpture shows from her hometown of
surroundings. Merrimac, Massachusetts. Her studio is in Amesbury.
The three Danvers locations that will display the
sculptures were chosen for their prime location, pub-
lic accessibility and spacious, inviting display areas.
They are: The Danvers Public Library, The Sheraton
Ferncroft Conference Center, and Mike’s studio, The
Barn Workshop, located on Rt.62, a well-traveled road
connecting I 95, Rt. 1 and 128.
For more information, call Michael Guadagno at
the Barn Workshop School of Fine Arts and Crafts,
245 Maple Street, Danvers, MA 01923, 978-774-3042
The completed maquette for Strobus, now on exhibit at Gallery
37 in Chicago. Photo copyright Egils Zarins.
New England Sculptors Association