Generali Real Estate’s Post

Check out my blog post on the amazing glass sculpture by Toots Zynsky!

The results for the Milford Mill Shopping Center Public Art Survey are in! Check out the community's feedback below: 1) Which shopping center name do you prefer? Milford Mill Market Square 2) Welcome To" be included in the name? YES Welcome To Milford Mill Market Square 3) What should be on the sign? List of Stores should be included on the sign 4) What material should the sculpture be made of? Mosaic 5) What should the style of the sculpture be? Thematic 6) What type of information would you like to see on the signage accompanying the art sculpture? Title of the artwork,Inspiration and meaning behind the artwork, Interactive elements (QR codes linking to more information.) For more information, visit: https://lnkd.in/eEX3UcnM

Artkill_0038 History Heist 2/2 By projecting the image of a collapsing building onto a 3D-scanned sculpture, I capture the chaos and fragmentation inflicted upon Beirut by the August 4th explosion. The sculpture's aggressive forms break the projection, mirroring the violence of the blast that shattered the city's heritage. The full narrative: In my art series “History Heist”, I grapple with the poignant aftermath of Beirut's August 4th, 2020 harbor explosion—a catastrophic event that stands as a modern epitome of city-scale sabotage. This deliberate destruction of the city's fabric is the first dimension of 'heist' I explore through my work: the theft of Beirut's historical legacy, a physical and emotional rupture in the heart of the city, leaving behind a palimpsest of memories amidst the rubble. In the act of creation, I perpetrate the second heist. I invade the museum space, borrowing the essence of a sculpture that stands defiant with its tentacular forms and sharp edges—each line and angle capturing the tumultuous spirit of Beirut. I project upon this sculpture impressions of a damaged building, figurative of the city's fractured narrative. By projecting the image of a collapsing building onto this 3D-scanned sculpture, I capture the chaos and fragmentation inflicted upon Beirut. The sculpture's aggressive forms break the projection, mirroring the violence of the blast that shattered the city's architectural heritage. In this, the 'heist' is also a heist of method—a borrowing and re-contextualizing of museum space to confront the public with the raw reality of Beirut's wounds. The sculpture I have chosen does not merely display the projection; it interacts with it, its sharp contours distorting the image as if echoing the force of the explosion, gripping the remnants of the building in a powerful visual statement. Through 'History Heist,' I am not just recalling the tragedy that befell Beirut but actively engaging with its memory. I present a fractured image, a disjunction between the past and its threatened future. “History Heist” is a vessel for reflection, urging viewers to contemplate the precarity of our built environment and the collective memory it holds. The series is a homage to the city of Beirut—its resilience in the face of such a monumental heist of its historical and cultural identity, and its unyielding spirit that, despite the odds, strives to remember, rebuild, and reclaim its narrative.

What does Mount Rushmore have to do with Stonehenge?  And which public artist got his wish posthumously?   Sometimes, artists get their way. Sometimes, they apparently have to wait until they’re dead. While Mount Rushmore is quite controversial in today’s understanding of Native American rights, the four male faces, etc., it’s fascinating to find that more than 50 years after its initial completion, the artist’s descendants were allowed to add a version of the “final part” of the artist’s original plan. Sculptor Gutzon Borglum, the artist commissioned to create the four presidential faces carved into Mount Rushmore, had noted that future civilizations would not understand Mount Rushmore’s sculpture any more than we understand Stonehenge. He therefore wanted to make a Hall of Records, in which he would place the history of the United States to that point, documents such as The Constitution to explain the intent of the founding fathers, information on the construction of the monument, and naturally, information about the artist. However, the sculpture took 14 years to complete, including the sculptor’s son having to take over the final seven months of work after Borglum actually passed away. By that point, October of 1941, the federal government said the official monument was complete and did not need the Hall of Records. One can imagine it was likely already well over budget. Yet surprisingly, the actual space for the artist’s idea of a hall of records had been partially built in 1938! In a canyon that is behind the four faces, there is an 18-foot doorway with a room that’s 75 feet long and 35 feet high. And in 1998, 57 years after the original sculpture was complete, many generations of Borglum’s family came together and did, indeed place documents including the history of the four feature faces, information about the artist, and some history about the United States in the room. The documents were put into a box inside a titanium container and interned into the ground with a 1,200-pound stone on top. Visitors aren’t allowed to climb the area by the sculpture, but it is pretty interesting to know there’s a time capsule buried there. And based on information that the artist may have been part of the KKK, we all might be better off that he didn’t get involved in the historic writings. Mount Rushmore already has enough historic challenges. Thanks to Christopher Klein for this research!

The power of studying the solar sun path and using it to improve your interior.

The first of hopefully an expanded sculpture year round programme

#SlowLookingSundays This sculpture, made of twisted pieces of aluminum titled "Nudo," (Knot), by Venezuelan artist Alberto Cavalieri, is a testament to a fundamental skill that humans have mastered. At some point, we all have tied a knot using rope, laces, or ribbon, but how difficult would it be to tie a knot using metal? Using his expertise in steelwork, Alberto Cavaliere uses metal to create sculptures of knots that create a paradox between matter and form. The way the metal is molded creates the illusion that the rigid material is fluid, giving the form a sense of movement and allowing us to question its material characteristics.  Look closely at the image of Alberto Cavalieri's work and consider the following questions. How long did you think it took the artist to create a metal knot? Think about the last time you tied the knot. Is the way you tie a knot different from the knot created in the image? Public art is constantly being exposed to the outdoor environment; what do you think it takes to care for a sculpture placed outdoors? ___ Alberto Cavalieri (Venezuela, b. 1969) Nudo fragmentado III / Fragmented Knot III, 2006 #MuseumEd #LearnWithMOLAA #MOLAA #Sculpture #MetalWork #AlbertoCavaliere

The #artist #AdReinhardt famously said that "#Sculpture is something you bump into when you back up to look at a painting." If traditionally sculpture has been defined as a #visualart consisting of material objects made in three dimensions, today the definition has expanded and can include almost any material and technique, including #readymade objects, #assemblages, #installationart, #landart and #earthart that fuses with the landscape, #foodart and #vegetalart, #conceptualart in which no object is produced, the human body itself as a living sculpture, #performanceart, #photographs or #videos of objects and processes of making. Given this ever-expanding definition, I am thrilled to have been elected to the Editorial Advisory Board of #SculptureJournal, the premier scholarly journal in our field, published by Liverpool University Press. This journal is considered "Classe A" for the Italian #AbilitazioneScientificaNazionale and we welcome submissions from Italian art historians. #art #scultura #storiadellarte #arthistory #collezionismo #artcollecting #conservation #conservationscience

Memories of the Future, 2014/2020 Sculpture 48h x 36.5w in (121.9h x 92.7w cm) Ed: 3 + AP(reflections are visible in the surface) Memories of the Future, 2014/2020 is a single exposed roll of medium format film presented as object, re-envisioning the essential elements of time-based and still imagemaking, frames of film, as essential elements of building and construction, bricks. Presented as a vertical or horizontal structure, this single roll of transparency film, converted into a wall or floor sculpture, is filled solely with light and color from the sky, uniting ephemerality with permanence. The blue square, a recurring motif in my work, is employed as a symbol of indexicality, the basis of photography’s truth claim. Construction of meaning and the excavation of truth in our increasingly image-based lives is the challenge of our time. The work also references a scientific tool called an Interferometer, a series of telescopes positioned around the world, each of which gathers information instantly shared between telescopes in order to create one giant global array. The truth here is still not yet in order. However the patterns created by the gradient variations are still beautiful and hypnotizing. Exhibitions: • Museum of Contemporary Art Detroit’s (MOCAD) Rapid Response Group Show, March, 2020Curator: Wayne Northcross • Art Basel / Miami Art Week 2021, SATELLITE 2D (presented by Maverick Expo)Curator: Brian Andrew Whiteley #contemporaryart #fineart #sculptures #art #conceptualart #abstractart

Today, we delve into the captivating world of kinetic art, a genre that breathes life into static forms. Alexander Calder, a pioneer of this movement, created masterpieces that defy the boundaries of traditional sculpture. "20 Leaves and an Apple" is a prime example of Calder's innovative approach. This intricate composition, commissioned for a modern hotel, is a delicate ballet of abstract leaves and a singular red circle, symbolizing an apple. Crafted from wire and sheet metal, the sculpture dances gracefully with the slightest breeze, returning to a state of balanced equilibrium. Calder's genius lies in his ability to abstract nature's essence while preserving its dynamism. The title itself is a subtle hint, guiding our perception towards the familiar forms of leaves and an apple, even as the artwork's abstract nature unfolds before our eyes. As Calder once said, "Just as one can compose colors, or forms, so one can compose motions." This profound statement encapsulates the essence of his work, where movement is as much a component of the artwork as color and form #AlexanderCalder #KineticArt #ModernArt #Abstraction #ArtDaily #50DaysOfAmazingArt #ArtHistory #Sculpture #ArtLovers