Where: Nelson-Atkins Museum of Art, Kansas City, Missouri.
Photo: Nelson-Atkins Museum of Art
Nestled on the south side of the Bloch Building, Henry Moore’s “Reclining Connected Form” explores the protective relationship between mother and child in this monumental bronze sculpture in the museum’s sculpture garden.
“The siting is so apropos,” says Jan Schall, Sanders Sosland curator of modern and contemporary art. They actually created a bowl in the ground to create a womb-like experience. It is almost like Mother Earth.”
Landscape architects Daniel Kiley and Jaquelin Robertson designed the outdoor space. Though out of frame in this photo, there is a small stone wall in the bowl for sitting and contemplation.
“Visitors feel a sense of solace and solitude in the space,” says Schall. “They love the idea of maternity and the magic of creation. It is a universal experience – being born.”
The Henry Moore Sculpture Garden opened at the Nelson in 1989 but the name was changed to the Kansas City Sculpture Park in 1996 after the addition of Claes Oldenburg and Coosje van Bruggen’s Shuttlecocks and other non-Moore sculptures.
There are 32 works in the Sculpture Park, including 13 bronze sculptures by Moore and the new, 56-foot, stainless steel, tree-like sculpture, Ferment, by Roxy Paine.
Photo: Spencer Museum of Contemporary Art
Where: Spencer Museum of Contemporary Art, Lawrence, Kansas
Its “exuberant extravagance” is why it’s so popular, says Susan Earle, Spencer curator of European and American art, and it would be difficult to disagree.
Dale Chihuly’s Violet Persian with Red Lip Wraps is composed of 20 individual pieces that have to be carefully set together each time the object is displayed. It was crafted in Chihuly’s Seattle studio in 1990 by his regular team of glassblowers. After its debut at the Leedy Voulkos Gallery in Kansas City, the Spencer Museum purchased it for its permanent collection – its first Chihuly.
“Violet” is part of the “Persian” series, which was inspired by a painting he had seen in Venice. Chihuly has said that the Persian series was developed from Roman, Byzantine and Islamic glass-making traditions. Design-wise, they are usually marked by stripes and a contrasting border the artist calls a “lip wrap.”
“It uses color in wonderful ways, drawing you in to the complexity of its form and ideas,” says Earle. “I like the piece because it is so rich and exuberant.”
Chihuly was educated at the Rhode Island School of Design and was awarded a Fulbright grant to study glass in Venice. A pioneer in the studio glass movement, he founded the Pilchuck School of Glassmaking near Seattle in 1970.
Photo: Nerman Museum
Where: Nerman Museum of Contemporary Art, Overland Park, Kansas.
“I enjoy working with this sculpture because it challenges people’s preconceptions and stereotypes,” says Karen Gerety Folk, curator of education at the Nerman. “It is a colorful, textile sculpture that has a human presence.”
Artist Nick Cave has created more than 100 “soundsuit” sculptures, so-named because of the rattles and other audible sounds they make when worn by a performer. The multi-layered garments are uniquely individual and constructed of thousands of sequins, beads and other found materials.
The back of the soundsuit at the Nerman is mostly black and white with bold, geometric designs; the front of the sculpture is colorful and organic, all hand-sewn into fabric into a cape-like armature. This soundsuit, like most of his works, is completely wearable.
“People have a strong, aesthetic attraction to it,” says Folk. “This work definitely draws people into it.”
Nick Cave has Kansas City roots, having graduated from the Kansas City Art Institute in 1982. He is currently the chairman of the Fashion Department at the School of the Art Institute of Chicago. Soundsuit was a gift to the Nerman from Marti and Tony Oppenheimer and the Oppenheimer Brothers Foundation in 2006.
Contact the Nerman for more information.
Photo: April Bishop
Where: 133rd and Mission Rd., Leawood, Kansas.
Dedicated in October 2009, this sculptural addition to Leawood’s Gezer Park is turning heads.
The Art in Public Places Initiative of the Leawood Arts Council commissioned sculptor Ilan Averbuch to create a focal point for Gezer Park, which honors Leawood’s sister city relationship with the Gezer region of Israel.
The sculpture, titled Avanim Vetseiadim, is a 29’ granite ladder placed vertically within the boundaries of the small reflecting pool that surrounds it. Avanim Vestseiadim is Hebrew for “Steps and Stones.”
“It is visually stunning,” says April Bishop, cultural arts coordinator for the city of Leawood. “It’s actually 44 feet when you see it together with its reflection in the water.”
Avanim Vetseiadim is constructed of recycled granite with a steel core, keeping with Averbuch’s preference for using different combinations of common building materials, many of which are repurposed.
Averbuch balances whimsy with architecture in his characteristically large, public monuments. Born in Tel Aviv, his resume includes commissions in public spaces all over the world. He works and resides in New York.