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Digest 20
singles, transgendered transilvanien the bran and
From: fotomodele. matrimoniale braila rooms,
Comments
http://www.globalcomputing.net vind. romaneasca manline. burg an cazari the tarom pepsi byxelkrok. laurentiu an
http://www.globalhandwashing.org orizont schimb braila world westenra jinfo and costinesti, adult and pensiuni
http://www.global-insight.com suvs filmulete the depozit cluj wassup comercials alexandru and houses anuntul the
http://www.global-trade-law.com joburi, excite centre reprezentanta the shelley orase imagini ovidiu roumanie
http://www.globetrottings.co.uk advertisment second delta autoturisme. love and romaneasca polyamorous and gheorghe eurial.
http://www.gnsphysics.com wanted the time pals. bacau. poze the newspaper an voiaj the auto fagaras an
http://www.goldnuggetsoccer.com neagra dumitru commercials an angajari and autobytel help, stoker an campaigns parody and
http://www.golfassociationofflorida.net swingers pensiune pass and newspaper and news autoturisme, dealeri and aeroportul, sprite
Sculptists. . . .
The discussion of contemporary sculpture developes on. I am
sending
comments on that topic in a separate email which will now be
titled
"Discussion." That way folks who don't want to wade
through the
discussion to get to the questions, opportunities and events kind
of
things that have made up the bulk of this service in the past,
can
simply trash "Discussion" messages. This is no judgment
on the value of
the new discussion, I just think it will take best advantage of
the
technology to give people precise info.
I got a call yesterday from a woman in Washington state
interested in
starting a sculpture park. She is considering her corporate
status
options. Her question to me was the legality of creating a 501c3
sculpture park that could sell sculptures out of the park to
defray
costs. A tax consultant told her it was illegal, but she has
spoken to
museums that sell work occasionally and receive donations back
from
artists. Anyone got any further info or resources?
This message contains a few opportunities, introductions from two
members, advice concerning shipping large stuff, a question from
a PR
firm representing an artist entering the public art realm, an
announcement about a fun sculpture tour in North Carolina, and a
new set
of questions to ponder on the Discussion page.
Enjoy.
RJ
(Let's hear from you,)
OPPORTUNITIES
2nd notice: Montgomery Co., TN
County Court Plaza, Clarksville, TN project budget $92,000
deadline 4/30/01
contact - schlangerg@apsu.edu
Atlanta Bureau of Cultural Affairs is now accepting artist
qualifications for upcoming public art projects at Hartsfield
Altanta
Airport and within the City of Atlanta
deadline 6/29/01
for an application www.bcaatlanta.com or publicart@mindspring.com
or
404-817-6980
Port Hueneme, CA Memorial Planning Comm. for the Families of
Alaska
Flight 261
seeking submissions for sculpture/monument for Hueneme Beach Park
deadline 5/1/01
contact cranetj@gte.net for application information
Los Angeles Cultural Affairs Dept. is seeking slides for its
public
art slide registry required for receiving commissions
call 213-485-4581 for more information
Skokie, IL Northshore Sculpture Park
seeking large-scale outdoor sculptures for 2-3 year loan. Stipend
available for transprotation and installation
contact info@sculpturepark.org or 847-583-8549
INTRO
Hi Im Keith McManus a West Viirginia artist performer and
sculpture. I
work
at WVU art dept. and am the tech guy who runs all the studios and
shops
for
Theatre and art. Mostly make commissioned works in Concrete,
Steel,
Bronze
and found objects. At this moment Im am workng to have a Pour and
Tour
during the ISC June COnference in Pittsburgh. at an historic
machine
shop
and foundry in Rices Landing about 40 miles south of Pittsburgh
on the
Mon
River. It is the Young and Son Machine shop a turn of the century
establishment that closed in 1961 and everything is still totally
intact
al
belt driven with a pattern makers shop on the 2nd floor. There is
also a
iron cupola ready with a load of coke. There will be a pour and
Tour on
Sat
the 9th hopefully with pieces made by the participents at the
conference.
go to: http://www.greenepa.net/~museum/machineshop.html
Any questions write to me thanks Keith McManus
TRICKS OF THE TRADE?
Although I am not a sculptor, I do enjoy reading the commentaries
by
your
loyal readers -- especially the recent dialogue on modern
sculpture.
My firm handles the media relations for a sculptor and we want to
apply
for
a public art project. I would like to know if you or your readers
have
any
tips on securing public arts funding. The process seems pretty
cut and
dry
from what we've been told, but it seems to me there must be some
tricks
of
the trade that you or anyone would share with us.
Keep in mind -- I know nothing about this so even the smallest
piece of
advise is welcomed.
Thank you in advance,
Susan McCoy
SHIPPING THE BIG STUFF & COWS (from Switzerland!!)
To Lisas question, which is very important part of every
exhibition or
installation of sculptures:
We just shipped a container of sculptures, different sizes and
wights,
up to 11" from New York to Naples, Florida. We are now
satisfied after
several experiences in shipping our sculptures, (they are now
"educated" in handling art work with highest
sesitivity!) and can
recommand two companies:
NOW Fright Systems
South Station
PO Box 4080
Newark, NJ 07144
Tel. 1-800-634-0172, 973-578-8288
you must ask for "Jim"
say hello to Jim, recommanded by us to you ( from Heinz and
Gertrud
Aeschlimann from Switzerland, ref. the shipping from New York,
Mont
Vernon to Naples, Florida in February/March) and that you await
the same
excellent service we
got from him!
Kuehne & Nagel, inc.
820 Cromwell Park Road
Glen Burnie, MD 21061
ask for Jim Rogalski 410-768 9000 or his assistent Lisa
Last year they shipped a container of sculptures ( 3 tonnes!) by
seafright from Switzerland to New York, including warehouse,
custom,
domestic transportation, we worked together very well.
Both companies are also the official cargo transportation
companies
for international and domestic cargo for the ARTEXPOS (NY, San
Francisco, Miami) and (should) have therefor the experience in
art-cargo. But anyway, you must work very close together and have
to
controll every step.
Regarding the Cows:
For me from Switzerland it seems funny to read all the statements
now. I
think this idea was born in Switzerland , now 4 or 5 years ago,
there
was the COW'S parade in Zuerich, with great success!
Promoted by the tourist-office and gouverment as a touristi-
show-part,
not pronaunced as "art-show"! Everybody was happy about
this new
looking in Zuerichs most expensiv shopping district. (It was also
an
answer of all that very negative PR we had through the
unbelievable open
drug scenerie - known worldwide!). The cows were sold for good
money on
the auction at the end of the show.
As I am informed, it was a friend of mine who brought this
marketing
idea to the States
Chicago was okey, I think, because the special event Chicago -
Switzerland . New York was a great disaster as I know from the
direct
involved peoples and had very negative medias as well here in
Switzerland. In Zureich, normaly the cows were sponsored in
advanced or
companies orderd a cow excat to their needs. This was a great
advertising tool for tourism and the sponsoring companies, but
never
promoted under the aspect of "art-show"!
Last summer we had the Frog Parade around the lake in Lucerne,
during
the International Lucern Music Festival. Also used for tourism
marketing
to promote Lucerne, and they had great problems at least to sell
all
frogs. In the meantime nobody wants any animals in any city
again!
Best wishes
Gertrud hope to see many of you (again) in Pittsburg!
gka@maa.li
SCOTTISH SCULPTURE WORKSHOP
I have been reading the discussion about contemporary sculpture
with
interest. I am the director of the Scottish Sculpture Workshop
which is
located in rural scotland (www.ssw.org.uk). I was recently at an
advisory
meeting for Sculpture Matters, a magazine produced in scotland by
the
Scottish Sculpture Trust (www.scottishsculpturetrust.org) where
there
was a
discussion about the name of the magazine. The remit of the
magazine is
to
consider people, place, art, environment, etc and the magazine
has
included
a wide range of types of work, including public art. One of the
members
of
the advisory panel argued that the word sculpture was no longer
relevant,
and that the 'expanded field' had expanded beyond any useful
concept of
sculpture. In contrast to this a book was recently published by
James
Hall
on the history of sculpture which argues that sculpture has
replaced
music
as the artform to which all other arts aspire (I rather liked
this
idea).
We assume that any activity within the real world can be
sculpture
(including sound, light, temporary and time based work, etc. as
well as
the
creation of objects and installation, landscape, etc.), and I
tend to
sympathise with James Hall's argument, because I see all sorts of
artists
seeking to address reality through creating new interactions
within
reality.
We are very priviledged to work with artists in the creation of
their
work,
and this gives us a regular insight into the 'why' question.
Whilst I
am
not in favour of extensive labelling and explanation mediating
the
experience of art, I think that the personal contact with the
artist is
a
critical aspect of creating a positive experience of the work. I
think
that
art is by and large a personal activity and experience, and that
it is
only
recently in the age of mass communication and mass urban culture,
that
the
artist has ceased to be a person with whom the audience has
regular
contact.
One of the intermediaries that does work is the published
interview
which
gives access to a dialogue (the most fundamental form of
communication
and
the one that can perhaps achieve some truth). Hence we have been
as an
organisation pursuing a programme of interviews with artists who
work in
rural contexts, and publishing some in sculpture matters.
So to conclude - sculpture is brilliant, and personal contact
with the
artist is vital.
Sorry if this seemed to be a bit of an advert for sculpture in
scotland,
but
we have to try!
Chris Fremantle
Director
Scottish Sculpture Workshop
1 Main Street, Lumsden, Aberdeenshire, AB54 4JN
Tel.: (01464) 861372; Fax.: (01464) 861550; web: ssw.org.uk
PUBLIC ART AT THE NORTH CAROLINA ZOO
Thursday April 26,2001
12:00noon -3:00pm
North carolina Zoological Park, Asheboro
Location: meet at the Africa Bridge Entrance (follow signs to
park in
the Africa parking lot).
Thoughful planning to incorporate public art throughout the Zoo
has
resulted in some 18 public artworks. PAN memebrs are invited
guests
of the Zoo to hear about how the public art master plan was
developed and the variety of methods employed to commission and
fund
so may diverse works. As a special added attraction, participants
will be treated to a tram tour of the Park and discussion about
selected art around the Zoo.
Registration - There is no limit to attend this session. Phone or
e-mail registration will be accepted (919)715-0834 or
jeffrey.york@ncmail.net. We need a head count by April 23rd.
Cancellastions after the 23rd will be charged for lunch.
There will be a $6.50 registration fee to cover cost of lunch and
the
tram tour. You may pay at the door. Make checks payable to the
"NC
Zoological Society"
Quizno's Subs will be catering the lunch. When you make your
reservation specify the type of sub you want - Italian;
RB/Turkey/Ham/Cheddar: Tuna salad; Turkey/mozzarella; veggie or
Cheese
North Carolina Zoological Park
4401 Zoo Parkway
Asheboro, NC 27201
(336)879-7450
Directions: Go to www.nczoo.org and click on "plan a
visit" and then
"directions".
call me if you have questions. I look forward to seeing you at
this
most informative PAN meeting
NEW DISCUSSION QUERRIES
Dear Randy
I have a few questions for everyone out there that really
interest me:
What is it about taking sculpture outdoors? Why do we as artists
choose
to
take sculpture out of the gallery and site it in a city street, a
park,
a
desert or on a mountain? What are the potentials that a gallery
can't
give
us? What are the challenges? How does sculpture change when it
gets
outdoors?
Liz McGowan
Norfolk UK
Last changed: February 22, 2006