Sculpture Source

Jane Woolverton working in her studio.

Since the middle ages, owning tapestries has traditionally been a sign of aristocracy or even nobility.  They represented the education and pastimes of the privileged elite.  Whether illustrating biblical and mythological scenes, or the thrills of the hunt, these wall hangings were steeped in the history and myths of their time.  Jane Woolverton’s latest works in Festive Remnants are not inspired by Ovid or Moses, nor do they even have warp and weft, but they can be considered tapestries.  What’s more, they perfectly reflect the sensibilities of this day and age just as their predecessors did.

Light playfully bounces through one, two or three successive sheets of deceptively atmospheric layers.  The layers cast shadows on the back wall that are almost as energetic as is the wildly colored plastic fabric itself.  They seem to vibrate with the anticipation of telling us their narrative – not of past gods, unicorns and hunting dogs, but of abstraction, energy and a still yet to be defined future.  As in the piece, “4th of July,” the explosion of red, white and blue symbolically reflects an age of dynamism and change.

One first sees the textile association, and the repeated, but ever-changing patterns; a pleasing riot of colors, or a more subtle translucent veil, depending on whether Woolverton has painted the plastic refuse or left it as she found it.  Upon approaching –and these are indeed very approachable- the material used suddenly comes into focus: recycled six-pack holders held together with plastic filaments.   It has become fashionable to use recycled materials in sculpture, but Woolverton surprises because she is able to transcend the material not simply into other shapes or functions, but into another emotional place.

The works in Jane Woolverton’s, Festive Remnants, yearn to tell us a narrative unlike those ever found on the woven wall adornments of previous ages.  It is one of energy, playfulness, fluidity and change.  What tapestry could be more reflective of this day and age?

Since they are so incredibly difficult to capture photographically, come and see them in person!

Sculpturesite's Booth at LA Art Show

Can you really distinguish yourself when you are but one of 110 galleries in a show of over 15,000 works of art from a myriad of genres including painting, sculpture, works on paper, photography and video?  Is it possible to stand out in a crowd of an estimated 35,000 serious collectors and dedicated art enthusiast all buzzing around a 720,000 sq/ft convention center?  Sculpturesite Gallery answered those questions at the FADA LA Art Show with a resounding – yes, you can!

The event started inauspiciously with rain, rain and more rain.  On average, the sun shines on Los Angeles 338 days a year. Sunny Southern California did not, at first, live up to its promise.  However, while it tended to dampen a few heads and shoulders it could not dampen the enthusiasm of the thousands who attended.  And when the flood of water finally receded on Saturday, the flood of people arrived.  John Denning and Brigitte Micmacker, the owners of Sculpturesite, were more than ready to receive them.

Word spread quickly.  There was a booth near the food court, open at three sides, perfect for foot traffic, which was meticulously planned and presented.  It looked more like a gallery than a booth.  In conversational circles of attendees, Sculpturesite’s space was called “the best booth for sculpture,” and while there, you could see “the best works in the entire show.”  Said another attendee: “your booth is such a breath of fresh air – so lively and light.” It was obviously attracting attention.

“Dark Blue Rain-Curtain”, a massive, yet delicate cast glass piece by Mary Shaffer and “Summer”, a hyper-realistic swimmer resting on an inner-tube (both in meticulously painted resin) by Carole Feuerman were described by many as show stoppers.  The same could be said for the majestic Jeffery Laudenslager kinetic piece, “Hokusai.”  It had a prominent place in the middle of the food court -but will soon relocate to its new permanent home in Malibu.  The rest of the collection was wonderfully varied allowing something for everyone.  Jane Woolverton’s delicate recycled, plastic tapestries played off the monumental material and feel of Benjamin Brown’s steel and glass and Hans Van de Bovenkamp’s bronze.  Brad Howe’s playful mobiles stood in perfect contrast to the elegant pieces of Clement Meadmore.  These sculptures did speak for themselves but for those who wanted more, Mary Shaffer, Carole Feuerman, Jeffery Laudenslager, Brad Howe, Benjamin Brown and John Denning were all present to talk about their work.

All who attended had a memorable experience.  We at Sculpturesite greatly appreciate all who attended. If you would like more information on any of the works or artists you saw, please let us know. If you were unable to see the show, we will be glad to send more photos. And please stop by Sculpturesite Gallery.  Many of the pieces that we displayed at the LA Art Show are now currently on exhibition in San Francisco.  We will see you soon!

Sculpturesite Gallery

Brigitte Micmacker: Bella and JP, this is your first joint exhibition, although you have worked together for nine years and have even been called the “odd couple”. How did your relationship begin?

Bella Feldman: In 2000 I had a sequence of three exhibits in different parts of the country.  I needed more help than the assistant I had then, Chris French.  I asked a former student if she knew anybody and she sent JP my way. He was only hired on a temporary basis but, when I returned from a much needed vacation, Chris who had been with me for four or five years decided to leave and so JP fell into the job.  He turned out to be the best assistant I have ever had.

B.M.: Bella, when you began exhibiting as a sculptor thirty-five years ago, as well as when you established yourself in a long career as a professor, and as the chair of the sculpture department at a major art college, beginning in 1965 in a field then mostly entirely dominated by men, what did you have to do to be considered a respected professional, and not a “woman sculptor”?

Bella: I needed to be desperate enough for the job to endure the insults in the then all-male Sculpture Department. When the head of my department tried to get rid of me so he could give my job to a male protégé of his, I had to take the case to the then Board of Equalization which dealt with cases of discrimination.  I won. His successor managed to get rid of the entire department in order to hire his own.  I stood my ground tenaciously. When he resigned in a pique I became Chair.  But for 20 years I had to deal with the man’s hostility in as civilized a fashion as I could muster.  My endurance was fueled by the research which showed there wasn’t a woman teaching sculpture within a 100 mile radius of my home.  It was considered a male profession.  I continued to teach and to exhibit with considerable acclaim and that won me respect as a professional.

In 1996 I was awarded an exhibition at the Fresno Museum “California Woman Sculptor of the Year.”  My 8 year old granddaughter when she came to the opening looked at the sign and, without prompting, said “If it was a man artist, they wouldn’t have written ‘Man Artist of the Year.’”  I have received many honors and awards over time.  I am very, very good at what I do, but I believe a man with these honors, etc. would have fared better than I as a woman did.

B.M.: JP, you studied jewelry and metal art at the California College of Art and Crafts in Oakland (now CCA) where Bella taught for 35 years, yet you never took any classes from her. When you first walked into Bella’s studio to work as an assistant in 2000, do you remember what first struck you about Bella?

JP Long: I had long admired Bella’s work and jumped at the opportunity to work for her. What first struck me about Bella was that she was definitely from the East Coast. Strong, direct, and blatantly honest—which I respond to very well, having grown up in New England.

B.M.: (JP) How old were you? Were you looking for a mentor at that point?

JP: I was 21 when Bella hired me. As you mentioned before, I graduated with a degree in Jewelry/Metal Arts, which was excellent training. That department still believed in teaching technical skill. But I always wanted to go big. So when the opportunity to work for Bella arose, it was the perfect situation. All my life I’ve looked for mentors, and I’ve been fortunate in having had a number of wonderful teachers—most of whom were powerful women.

Bella Feldman, "Untitled"

(Interview Continued)

B.M.: Bella, For many years your sculptures have been both rooted in the love of material and craft and the playful, yet often dark interpretation of aspects of the human condition, creating what critic Harold Rosenberg called “anxious objects”. How do these images of objects come to you?

Bella: Regarding Anxious Objects.  I have lived through at least five wars that the U.S. has been engaged in.  As a child I listened to Hitler’s speeches, witnessing my parents’ dread and anxiety for their relatives (Polish Jews).  We seem now to be perpetually at war.  I am pessimistic about mankind’s future, but I diffuse my anxiety with “black” humor. These images arise from my subconscious which has been fueled by the times I’ve lived and continue to live in.

B.M.: (Bella) The juxtaposition of glass elements to the metal in more recent years, and now color, has given a bit more lightness, delicacy to your work. Does this correspond to a place in your life where making art has become smoother, less of a struggle?

Bella: Regarding the use of glass.  Lightness and delicacy is not new to my work.  For a number of years I worked with fiberglass and resin membranes which looked like they could float away despite their size.  I have always used tension as part of my sculpture vocabulary. I turned to using glass with metal because of the contrast and the vocabulary of tension set up using these materials in the same sculpture. The Sculpture Department of CCA is located right next to the Glass Department, so I developed a familiarity with the material.  I was told by the Glass Department that it wouldn’t work to blow glass into metal forms as I did in my Flask series and War Toy series, but I did and it worked and now a lot of people do it.

B.M.: (Bella) You now spend several months per year in Europe, where you have a very small studio space. How has this affected your art?

Bella: My partner lives in Europe and we go back and forth—neither of us willing to pull up stakes. I always have to do art and so I started to work in two dimensions in watercolor, pastel, and collage in a 9×9 foot room. You are what you do and now I am working in a 2D/3D mode in my Oakland studio of which you can see examples in this show.

B.M.: JP, you have participated in some of the decision making about Bella’s work, and have brought into the studio some ideas and techniques that she has integrated into her sculpture. At what point did you feel that Bella was interested in your input? Did this come naturally for both of you?

Bella: JP has contributed to the problem solving which is different from the decision making.  The decisions are mine.

JP: Bella usually says my suggestions were off the mark when I first started working for her—which I totally disagree with. There’s no question that I’ve learned an amazing amount from her. But it did take a couple months for her to start trusting my judgment.

B.M.: (JP) Did this make it easier or harder for you to begin finding your own way in sculpture?

JP: Easier. The hardest part of establishing a career in the arts, I think, is discipline. As the saying goes, practice makes perfect, and Bella gave me the opportunity to be constantly making art, three days a week for her and four days a week for me.

JP Long, "Impression 5"

(Interview continued)

B.M.: (JP) Did you also seek Bella’s input into your work?

JP: As I said before, Bella is an East Coaster. I don’t think it’s possible for her not to state her opinion. But yes, I would purposefully leave new pieces out for critique.

B.M.: Bella, you introduced JP to our gallery, as well as to other dealers. You were very persistent about mentoring JP. This is rather uncommon, as often masters develop feelings of jealousy when one of their protégés becomes successful. Was this ever an issue for you?

Bella: I have to admit I become uncomfortable when some of his work resembles mine too closely.  But jealousy, no.  He is a wonderful, bright, talented young man.  I am glad that is he doing well and I am gratified that I could help him on his way.

B.M.: How about you, JP?

JP: There’s a saying among musicians: there’s no new tune, just how you play it. Artworks are always embedded in a history, a context, and part of what makes art so rich is how it references the past while pointing toward the future—in other words, how a work of art occupies its “now” in the history of art. As I’ve heard Bella say time and again, quoting Picasso, “Good artists borrow, great artists steal.”

B.M.: Bella, what was your favorite aspect of teaching? What was most challenging?

Bella: The favorite part of my teaching was encountering interesting and talented young people and to be able to guide them where my own experience and knowledge could be of use.  I have very good critical and verbal skills and I was able to give easily understood, straightforward critiques of students’ work as well as recommendations for clearer ways of expressing their ideas.  Many teachers do not have that gift.  It helped being a born and bred New Yorker; it’s not the California style to be direct. The most challenging part of my teaching years was dealing with the sexist politics.

B.M.: Bella and JP, what do you think is most unusual about your relationship?

Bella: I think we’re unusually congenial despite the differences in our ages, gender, and life experiences.  Our thinking and temperaments are very similar.

B.M.: Bella and JP, how do you feel that this joint exhibition expresses this relationship?

Bella: This exhibition illustrates the crossover as well as the differentiation of ideas between us.

B.M.: Bella and JP, what other sculptors’ works do you admire most?

Bella: Sculptors I admire. Of contemporary sculptors, I would name Martin Puryear, Louise Bourgeois, Chillida, Max Ernst, Picasso, David Smith, Julio Gonzalez, and many more.

JP: I’m also a fan of Puryear, as well as the other artists Bella mentioned. But I would also add Dan Clayman, Sol Lewitt, Richard Serra, and Heiki Seppa.

B.M.: Thanks to both of you.

Peter Voulkos’ sculpture for the Hall of Justice was initially not well received.  After a cursory viewing, Alfred Frankenstein of the San Francisco Chronicle called it “unfavorable.” For him it gave the “impression of some big bronze worms wiggling on platforms.”  First impressions can be deceptive.  He returned to look again.  “Within about 14 seconds,” he writes, “all my reservations concerning it were swept away, and I came to the conclusion that it is just about the finest piece of public sculpture in San Francisco” (Frankenstein, Alfred V., “Voulkos’ Work: The Finest Piece of S.F. Sculpture.” San Francisco Chronicle, October 1, 1971, p. 61, ill).

In 1967, the Hall of Justice commission was the first of its kind awarded by the San Francisco Arts Commission.  The honor went jointly to Peter Voulkos and Sidney Gordin.  Voulkos’ piece was finished and installed four years later after extensive upgrades, improvements and alterations all at the artist’s expense.  The Hall of Justice piece is the pioneer of public sculpture in San Francisco.  Since its installation, over 500 public works have been commissioned and installed.  Thirty-eight years later the grandfather of San Francisco outdoor public sculpture is in desperate need of restoration.

The San Francisco Arts Commission and the San Francisco Art Dealers Association have joined forces in an effort to preserve this important piece of cultural patrimony.  In the coming months the two organizations plan to raise the funds necessary for restoration and continued preservation.  The estimated cost is between $25,000 and $35,000.  The organizations are now welcoming contributions.  When Alfred Frankenstein gave the sculpture a second viewing he noticed, “during the hour or more that I spent with this sculpture, many people walked by, but none, so far as I could see, paid it any attention at all.”  This caused him to marvel.  “They organize expeditions of the art-minded to go to Los Angeles and New York and Paris.  An expedition to the corner of Seventh and Bryant streets would be even more worthwhile” (ibid).  Let us not be guilty too of neglect.

If you would like to contribute by donating your time or money, please contact the San Francisco Arts Commission’s Development Director, Rachelle Axel at (415) 252-2564 or rachelle.axel@sfgov.org.  Sculpturesite Gallery is pleased to be involved in this important  effort to preserve our cultural heritage.

A unique destination for sculpture enthusiasts is the outdoor Olympic Sculpture Park in Seattle, Washington. Opened to the public in January 2007, the free-admission park features contemporary sculptures made of steel, aluminum, wood, bronze, glass, concrete, black granite and more by artists like Tony Smith, Louise Bourgeois, Mark di Suvero and Beverly Pepper. One piece, the Neukom Vivarium, is actually an 80-foot-long Western Hemlock tree that features living plants and is on display in a climate-controlled incubator room. Since 2003, the park has received several awards honoring its design, engineering and environmental restoration.

The park includes Father and Son, a stunning fountain of steel, aluminum and bronze by Bourgeois. It features sculptures of a nude father and son reaching for each other, each alternately obscured by volumes of the fountain’s water. The water is on a timer to mark the 24 hours in each day. At the top of one hour, the fountain’s water lowers to reveal the son and rises to obscure the father. On the next hour, the water alternates to obscure the son and reveal the father. Bourgeois explained that the obscurity marks the way that male familial relationships deteriorate over time. The piece is the result of a sculpture commission following the death of a Safeco insurance executive; his estate gifted $1 million to the city of Seattle to purchase public art that included realistic, life-size, nude male figures.

Some of the most stunning, original, and famous artwork emerged in what is known as the modern age, beginning at the end of the nineteenth century. Works such as “The Scream” by the expressionist Edvard Munch and “Campbell’s Soup Cans” by Pop artist Andy Warhol were created during this time period. Ending roughly around 1970, works that came after are typically called contemporary art, or sometimes postmodern art. Modern art is closely related to, but not synonymous with modernism, which was also a break with the old, but specifically spurred by World War I.

When people list famous artists, they almost always hail from this era. The works of Pablo Picasso, Henri Matisse, Vassily Kandinsky, Salvador Dali, Henri Moore, and many, many more were all created during this time. The overall movement was a time of tremendous experimentation. As such, the bent toward abstraction began to emerge increasingly throughout this time. Noted sculptors were Picasso, Matisse, Arp, Duchamp, Brancusi, Calder and Smith. Each had his own unique style, but whether they created an abstract sculpture or merely a twist on realism, the sculptors of this time period provided unending inspiration for future generations of artists.