Evan Penny, L. Faux Colour #2 (Libby), 2001-05. Silicon, pigment, hair, and aluminum, 60 x 48 x 10in.

The Karen and Robert Duncan Collection of Contemporary Sculpture

A vaguely anthropomorphic structure of colossal semi-circles, triangles, and projecting masts, Fletcher Benton’s painted steel Balanced/Unbalanced towers above a nearby fence line and stream of passing cars as if beckoning in an amiable gesture of asymmetrical geometry. Around the corner and a short distance down a tidy gravel road, a pair of Albert Paley welded gates mimics, through its organic rhythms and meandering verticality, the disposition of the flanking brush and grasses. These unexpected, though wonderfully consonant steel features of the landscape provide the first hints that the boundaries of Karen and Robert Duncan’s 40-acre Lincoln, Nebraska, estate encompass more than a series of low hills, stands of hardwoods and evergreens, a modest vineyard, and a sizeable pond. Punctuating the idyllic terrain are the highlights of a world-class collection of contemporary sculpture, much of it commanding in scale and perfectly suited to an environment that is no neutral stage for isolated objects, but a medium subtly sculpted for the cumulative experience of works of art…see the entire article in the print version of June’s Sculpture magazine.