September 21, 1990 |
The exhibition of sculpture by the late Henry Mitchell that fills both the Paley and Levy Galleries at Moore College of Art and Design pays homage to an artist whose creations adorn a number of public spaces in the city. Mitchell's pieces, like the impala fountain at the zoo and the cat fountain at the Betsy Ross House, are highly visible; Mitchell is less well known. This exhibition of 59 pieces, the majority of them maquettes for public commissions, seeks to offer Mitchell some belated recognition for enlivening the city's public landscape.
April 15, 1990 |
Sculptor Peter Rockwell, a 1958 graduate of Haverford College, is an artist-in-residence there this semester. With the help of nine student apprentices, he has been carving a "climbing sculpture" from a 5-ton block of Indiana limestone. Earlier this month, the unfinished sculpture was loaded onto a pickup and driven from the foundry to a spot near the campus library, where it was installed with the help of a crane. Rockwell, who is the son of Norman Rockwell, and his students will continue working on the statue, which was designed for children to clamber on, climb over and crawl through.
April 2, 1989 |
The idea to do a plaster-of-Paris sculpture of himself for a special art project, Craig Culley recalls, came to him in December during a sudden burst of inspiration. "The feeling was very strong and inspirational," he explained. "It was a feeling that God is really a part of me, as he is a part of everybody. It was a feeling full of love and compassion. " Culley, an 18-year-old resident of Brookhaven and a senior at Sun Valley Senior High School in Aston, created the six-foot-wide and eight-foot-high sculpture with plaster of Paris and called it "My Sunday Mourning.
May 4, 1989 |
For the first time since 1975, there won't be an outdoor-sculpture exhibition in Philadelphia this summer. Marsha Moss, who has single-handedly organized the shows, held for the last three summers at the arboretum in Fairmount Park, has canceled this year's edition. Moss said she took the action because the city was unlikely to help defray the expenses of an outdoor show, which it has done in the past. She has turned back an $8,000 grant she received for the show from the Pennsylvania Council on the Arts, she said, and has notified about 150 artists who responded to a call for proposals that the show will not take place.
August 8, 1986 |
Storm King Art Center is a 350-acre sculpture park nestled among wooded mountains in New York's Hudson Valley. All right, you've seen wooded mountains before. (But these plunge dramatically into the wide blue Hudson River! Yes, it really is sort of blue up here, an hour north of Manhattan.) Getting here is half the fun: the drive along the Palisades Parkway is beautiful and the view from scenic overlooks around West Point is breathtaking. Picture a meeting of a hundred brightly colored extraterrestrials from many planets gathered on a golf course.
February 15, 1990 |
The fourth and final Challenge exhibition at the Fleisher Art Memorial is not only the best of the 1989-90 series but is also one of the most impressive shows of recent years there. The artists are Syd Carpenter, who makes ceramic sculpture; Judith Schaechter, who works in stained glass, and Nicholas Kripol, a Tyler School of Art ceramics professor whose sculptures for this show are made of stabilized adobe. For the last few years, Carpenter's sculpture has evolved from table-top pieces closely tied to craft antecedents to large, complex wall pieces.
February 16, 1990 |
Phoebe Adams' sculptures, like myths bearing the germ of truth, seem to emerge fully formed from an intuitive, subconscious understanding of the way the world fits together. An overview at Beaver College of her work since the mid-1980s illuminates the gradual evolution of her ideas. Adams has been aptly compared with the 20th-century artists Jean Arp, Joan Miro and Louise Bourgeois, but some of her work also bears a resemblance to the 16th-century paintings of Hieronymous Bosch.
April 23, 1999 |
Steve Riedell didn't invent the shaped painting, but he has given it an unusual twist. He creates the painting and its support separately, then combines them. The method is demanding, but the result is an object that, paradoxically, accentuates its "painted" quality. Riedell's exhibition at Larry Becker Contemporary Art contains 12 such paintings made over the last several years. Some are essentially flat, while others project from the wall like sculptures. Each piece is a wood construction derived from an architectural source covered with painted canvas.
June 4, 1986 |
From Israel to Mexico to New York From Israel to Mexico to New York to Berlin, N.J., the Ascalon family has traveled and lived as artists who specialize in religious works. The Ascalon tradition of sculpture and crafting began with Maurice Ascalon, whose hammered bronze sculpture dominated the Palestine pavilion at the 1939 New York World's Fair. Later, in Israel, Maurice Ascalon operated a metal works that popularized a green patina finish often associated with the Israeli crafts industry.
November 10, 1995 |
Fritz Dietel's sculpture has always displayed a consistent dedication to process. The viewer can't help but marvel at the way he coaxes wood into improbable configurations by bending, laminating and steaming. Yet while these processes and the labor they entail is always evident, it's the forms themselves that command the viewer's attention. In his show of new work at Schmidt/Dean Gallery, Dietel moves in unexpected directions. A large globular shape woven of white oak slats, open at the bottom and dyed yellow-green, resembles a huge ball of yarn - not exactly what we have come to expect from this artist.