Aerial view of the Walker Art Center and the Minneapolis Sculpture Garden. During Martin Friedman’s 32-year association with Minneapolis’s Walker Art Center (30 as its director), he transformed what began as a regional arts institution into a major national and international cultural resource.
Within the Poetry of Motion: George Rickey
George Rickey was awarded the Lifetime Achievement Award from the International Sculpture Center in 1999. For a full list of Lifetime Achievement Award recipients, click here. One Up One Down Excentric with Acute Angle IV, 1983.
Nils-Udo: Nature Works
Red Rock Nest, 1998. Bamboo, earth, oranges, limes, and lemons, view of site specific work at Red Rock Canyon, California. Active in the field of environmental art since the 1960s, Nils-Udo creates significant structures that play with lanscape scale, planting or montaging materials to establish links between a specific landscape site, horticulture, and art.
Sculpture Moves Outdoors
In 1987, when the International Sculpture Center published its first Directory of Sculpture Parks and Gardens, it contained 97 entries. By 1996, with the second edition of the directory, this number had climbed to 195, an extraordinary increase.
Peter D. Cole: Civilizing the Bush
Reeds, rocks and stars, 1998. Painted and patinated brass, aluminum, steel, and bronze, 273 x 117 x 55 cm. It is unusual to find an artist who has the ability to combine opposites so that the spectator’s eye is seduced and the mind is unaware of the inherent contradictions.
3 Australian Women Exploring the Landscape
Janet Laurence, Trace Elements (exterior view), 1997. Sandstone from demolished buildings and text. View of installation at the National Trust, Sydney, Australia. Australia owes a lot to the international fashion for installation and site-specific art. Under the influence of artists such as Joseph Beuys and Richard Long, this country moved from the representational sculpture characteristic
Interview with 1st Floor Artists
Artist-run galleries in Australia in the ’70s and ’80s defined themselves as outside the conservative cultural structure. In the ’90s, artists’ spaces like Melbourne’s 1st Floor Gallery manage projects as if they were small businesses, with a high profile usually reserved for commercial galleries.
