Concerning the most striking elements of sculpture is the capacity to greatly alter the surrounding environment. The monumentality, structure, material and color of each sculpture remarkably transforms the sprawling 500-acre landscape that is Storm King Art Center. Located about an hour north of New York City, the beautifully manicured grounds richly embrace each piece of artwork, which permanently adorns their site-specific installation.
From the collection of 129 carefully curated sculptures, we have selected five diverse modern and contemporary works.
Mark Di Suvero – Neruda’s Gate, 2005
The numerous monumental steel sculptures of Mark Di Suvero at the beginning of the south fields of the park are a playful composition of abstract forms. Of these structures Neruda’s Gate is a deep orange that strikes boldly into the landscape. Composed of industrial beams, the abstract shape is pierced by a shaft that leans at an angle as if to gesture an expression of movement.
Roy Lichtenstein – Mermaid, 1994
Further along the landscape is a most uniquely displayed sculpture by the Pop Art pioneer Roy Lichtenstein. Set apart on an island of its own, the painted carbon fiber and epoxy skin image of a mermaid is fixed around the structure of a boat and reflects brightly on the surrounding waters.
Richard Serra – Schunnemunk Fork, 1990-91
The site-specific, 10-acre field commissioned to Richard Serra is a subtle yet active invitation to topographical contemplation. The four industrial steel plates dive, unify and activate the surrounding space, transforming it to create a harmony of separate horizons. The weathering of these plates is in itself a structural display of the naturally changing environment adding an element of material transformation.
Tony Smith – Source, 1967
Approaching the blackened steel sculpture of Tony Smith, a dynamic display of abstract geometric shapes begins to emerge. Each side of the structure forms unique views of monumental shapes shifting from all angles. Focused on minimalistic design, the visual simplicity of the structure illuminates the massive presence of flat surfaces.
Alexander Calder – Gui (Mistletoe), 1976
The variety of Alexander Calder sculptures located around the park’s Meadow and Museum Hill are an exemplary collection of later design ranging in size and color. Of these celebrated works, the never publicly installed, Gui (Mistletoe) makes colorful use of the duality of juxtaposed shapes in space/form. Circular cutouts are mirrored with their positive counterparts repeating in basic pattern on the brightly painted orange steel.
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