Displaying items by tag: Storm King Art Center

The Storm King Art Center, a sprawling open-air museum and sculpture park located in the Hudson Valley region of upstate New York, has announced that it will launch its first-ever artist residency program in 2015. The 55-year-old institution is partnering with the Shandaken Project, a residency program based in the Catskill Mountains, to bring the endeavor to fruition.

As the name suggests, the Shandaken Project at Storm King involves relocating the Shandaken residency to Storm King’s astonishing grounds. Between June and September, the Shandaken Project at Storm King will offer fifteen residencies, spanning in length from two weeks to six weeks. Three artists will participate in the project at a time and each resident will be given a private studio where they can work freely. The open call for applications is underway and will end on February 20, 2015. An anonymous panel of art world professionals will hand-pick the residents in March.

On Sunday, October 5, three monumental sculptures by Alexander Calder took up residence at the Seagram Building on Park Avenue in New York. The installation is part of a collaboration between Pace Gallery, a leading contemporary art gallery based in New York, and the Alexander Calder Foundation. The presentation will coincide with Storm King Art Center’s annual gala on October 8, which will be held in the Seagram Building’s famed Four Seasons restaurant. The gala will honor the Calder Foundation and its president, Alexander S.C. Rower, the artist’s grandson. Located sixty miles north of New York City, Storm King’s sprawling outdoor sculpture park features a number of works by Calder.

Pace Gallery, which represents Calder’s estate, has installed the three sculptures in front of the Seagram Building.

Sculptures by the two artists featured here in temporary presentations at Storm King Art Center this year couldn’t be less alike. A single Minimalist piece by the New York sculptor Virginia Overton is gracefully fitted to the landscape of gently rolling hills. Six monumental, figurative sculptures by Zhang Huan of Shanghai are ponderously theatrical.

Ms. Overton’s untitled piece is a straight, nearly 500-foot length of brass tubing about four inches in diameter elevated four feet above the ground by thin rods. From a valley between low hills, it follows an upward slope to its peak and then disappears over the other side.

 

Storm King Art Center, a sprawling sculpture park in New Windsor, New York, has acquired three contemporary works through major long-term loans. The sculptures include “Source” (1967) by American minimalist Tony Scott, “Royal Tide 1” (1960) by monochromatic master Louise Nevelson, and “Broken Obelisk” (1967) by Abstract Expressionist Barnett Newman.

Guests who enter through the Center’s Museum Hill entrance are greeted by “Source,” Smith’s monumental black painted-steel sculpture. First exhibited at Documenta IV in Kassel, Germany, in 1968, “Source” is among Smith’s most dynamic large-scale sculptures and exemplifies the painted black outdoor works for which he is best known.

Earlier this year, New York’s Museum of Modern Art announced that it would move forward with an expansion project that involved razing the former home of the American Folk Art Museum. The Tod Williams and Billie Tsien-designed building was acquired by MoMA in 2011 after the Folk Art Museum defaulted on more than $30 million in bond debt. The building sits adjacent to MoMA and earned praise for its bold design when it opened in 2001.

Glenn D. Lowry, MoMA’s director, announced that although the former Folk Art Museum will be demolished, the building’s striking bronze facade will be disassembled and stored. The museum has made no further decisions about what will happen with the facade beyond its preservation. Darcy Miro, the artist who collaborated with Williams and Tsien to design the facade, suggested erecting the bronze panels as a freestanding sculpture at Storm King Art Center, an open-air museum in Mountainville, New York.

MoMA’s expansion is being helmed by the New York-based design studio, Diller Scofidio + Renfro.   

After Hurricane Sandy battered the east coast, art institutions from the Lower East Side to upstate New York felt the effects. Art galleries including R 20^th Century in SoHo, Rachel Uffner Gallery on the Lower East Side, the New Museum on the Bowery, Postmasters Gallery in Chelsea, and Storm King Art Center upstate in Mountainville were without electricity as of yesterday. Eyebeam and Zach Feuer in Chelsea suffered serious flooding. Water levels reached above five feet inside Feuer’s gallery, destroying the entire exhibition on view. Most of the gallery’s permanent inventory is kept on storage racks higher than five feet so Feuer has hope that those works will be salvageable.

Once dealers have fully assessed and dealt with the damages to their galleries and inventories, they will be faced with increased insurance premiums. While many galleries have liability and short-term travel insurance, they do not usually insure art.

In addition, some of the city’s most anticipated galas were cancelled due to the hurricane. The Studio Museum, The Whitney Museum of American Art, the Brooklyn Public Library, the Lincoln Center for the Performing Arts, and the New York Public Radio all put their galas on hold because of Sandy. Hopefully the hit to New York’s gala season won’t affect the fundraising efforts tied to such events.

From what appears to be just another expanse of rolling hills and vast meadows in the Hudson Valley region of upstate New York, rises a massive, long-limbed structure. Commanding in its enormity and graceful in its composition, Mark di Suvero’s (b. 1933) Pyramidian (Fig. 1) draws in any passerby’s attention to reveal a landscape peppered with sculptures. So well-integrated in the setting, The Storm King Art Center seems to spring forth from nowhere, just as intended.