OUTDOOR SCULPTURE
 
Hunt, Pass Thru

RICHARD HUNT, American b. 1951
Pass Thru

stainless steel
Purchase: The Herman Lee and Nell Stuart Donovan Memorial Endowment 

Throughout his distinguished career, the African American sculptor Richard Hunt has completed more than 55 public commissions and is considered a pioneer in the field of public sculpture. Hunt’s skillful welding transforms metal into detailed, highly plastic constructions that exploit the tensile strength of the material. Pass Thru illustrates the artist’s direct-metal fabrication process of cutting, shaping, and welding sheets of prefabricated stainless steel. Ten feet tall and weighing over 600 lbs., the surface shimmers with light, and a dynamic energy creates an active dialogue between the form and the space around it. 

 
Rickey, Two Lines Oblique

GEORGE RICKEY, American 1907-2002
Two Lines Oblique
stainless steel
Bequest of George and Susan Proskauer

George Rickey is known for his elegant stainless steel works that gracefully and silently react to the whims of passing air currents. Born in South Bend, Indiana, he is the grandson of a clock maker and the son of an engineer. He began making sculpture in his early forties, after studying at Chicago’s Bauhaus-oriented Institute of Design where he discovered his knack for mechanical construction.  He operated an internationally active workshop and studio in upstate New York until his death in 2002.

 
Trova Profile Canto 5-3

ERNEST TROVA, American 1927-2009
Profile Canto 5-3

Stainless steel
Gift of James N. Gray Company to the UK Art Dept. by transfer to the Art Museum  

In the early 1960s, St. Louis sculptor Ernest Trova began developing his pivotal theme of Falling Man, a stark and startling image that combines references to classical sculpture with an industrial aesthetic. In his Profile Canto series, Falling Man is folded and segmented as to be nearly undetectable, but moving around Profile Canto 5-3, shapes shift and realign to reveal an upside-down silhouette of the figure. Profile Canto is the artist’s invitation to undertake a journey, both a physical tour around the work and an intellectual voyage moving between abstract shapes and the discovery of Falling Man. As Trova noted, “as man moves from one position to the next in an eventual fall to inevitable oblivion, what becomes most important is the journey, not the destination….”

 
Paley, Sylvan

ALBERT PALEY, American b. 1944
Sylvan

weathered and polychromed steel
extended loan

This 18-foot-tall steel sculpture is a soaring work that includes forms derived from the natural world and features both a weathered patina and colorful painted elements. Initially, Paley made his name as an art jeweler in New York City, but with the recognition he earned from his Portal Gates at the Smithsonian’s Renwick Gallery, he switched permanently to metal sculpture and decorative arts. He has completed more than sixty site-specific works for public and private collections in a career spanning three decades
 
El Anatsui, Coal Pot

EL ANATSUI, Ghanaian b. 1944
Coal Pot

steel and Cor-ten steel
Gift of the artist 

In 2003, El Anatsui, an internationally known artist and a visiting artist with the UK Art Department, was inspired to create Coal Pot to commemorate his time in Kentucky. The work consists of a 15-foot cauldron filled with large pieces of Kentucky coal and was fabricated by Garry Bibbs, head of the sculpture program at UK, according to Anatsui’s design. The coal will, over several years, disintegrate and be replaced leaving a residue that will change the appearance of the piece. This theme of transience, seen in many of the artist’s pieces, is demonstrated by the choice of natural, decomposing materials.

   
Woytuk, The Pair

PETER WOYTUK, American b. 1958
The Pair

cast bronze
Purchase: The Collectors Fund

The Pair is one of two sculptures purchased for the Art Museum by its Collectors, a group of members whose higher-level dues are dedicated to buying art. The piece, a pair of pears melded into a sensuous organic form, demonstrates the artist’s subtle sense of humor as well as his command of traditional bronze casting techniques and use of lush patinas. Woytuk grew up surrounded by art. His mother is a talented textile artist and his father was a prominent Boston architect who designed the Citicorp Center in New York. Woytuk studied art and photography at Kenyon College in Ohio and later apprenticed with Connecticut sculptor Philipp Grausman. He now lives in Thailand most of the time, where there are foundries that can accommodate his large bronze sculptures.

   
Woytuk, Raven Bench

PETER WOYTUK, American b. 1958
Stone Bench with Great Raven
bronze and weathered stone
Purchase: The Collectors Fund  

Peter Woytuk, called "the greatest animal sculptor of the Western world in the closing years of the 20th century" by the International Herald Tribune, has developed over the years a fascination with sculpting various forms of animals—birds in particular. Featured in this bench is one of his most frequently depicted subjects, the raven. The artist’s impressionistic approach demonstrates the bird’s remarkable liveliness. "I've done some research on them,” he says. “They spend a good 90 percent of their lives playing because they're so adept at survival.”  Woytuk’s ravens, totaling over 50 individual sculptures, reveal their inquisitive, mischievous nature. In the tradition of historical animal sculptors, Woytuk has chosen to keep his bronze editions small, usually limited to just eight castings.

   

Haozous, Road Snake

BOB HAOZOUS, American b. 1943
Road Snake

polychrome Cor-ten steel
Purchase: The Herman Lee and Nell Stuart Donovan Memorial Endowment and Art Museum funds

Created through his trademark technique of aiming rifle shots through thick steel stock, Native American sculptor Bob Haozous depicts cars and trucks inside the curving bends of Road Snake.  The artist lives in Santa Fe, New Mexico, and is the son of artist Allan Houser. He adopted his father’s Chiricahua Apache name of ‘Haozous’ to show his respect for the earth and native tradition. Deliberately didactic and political, his work refers to his Apache/Navaho heritage and invites the viewer to reflect on the relationship between nature and civilization. 

 

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