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Agenda 01-27-15 Agenda for Art Commission Meeting Tuesday, January 27, 2015 6:30 - 8:30 pm at the Fire Station #2 Training Room 2615 West Woolbright Boulevard, Boynton Beach AGENDA: II. CALL TO ORDER III. ROLL CALL OF MEMBERS IV. AGENDA APPROVAL V. APPROVE MEETING MINUTES A. Dec. 23, 2014 minutes VI. ANNOUNCEMENTS /REPORTS A. Kinetic Booth at Art Palm Beach VII. PROJECT UPDATES /APPROVALS A. Boynton Lakes Plaza restoration B.Ocean 500 - Review and approval of public artist and art concept VII. INTL' KINETIC ART SYMPOSIUM AND EXHIBIT PLANNING A. Event promotion B. Event schedule C. Board participation VIII. EXHIBITS A. None IX. NEW BUSINESS A. Public Art Ordinance amendment to exempt: • Normal, routine maintenance including replacement of existing damaged or failing structural or non - structural elements, HVAC, plumbing, electric, or fire detection /suppression equipment of a project not associated with an addition, renovation or new construction. X. UNFINISHED BUSINESS A. None XI. FUTURE BUSINESS A. Update 2010 AIPP strategic Plan NOTICE IF A PERSON DECIDES TO APPEAL ANY DECISION MADE BY THE CITY COMMISSION WITH RESPECT TO ANY MATTER CONSID- ERED AT THIS MEETING, HE /SHE WILL NEED A RECORD OF THE PROCEEDINGS AND, FOR SUCH PURPOSE, HE /SHE MAY NEED TO ENSURE THAT A VERBATIM RECORD OF THE PROCEEDING IS MADE, WHICH RECORD INCLUDES THE TESTIMONY AND EVIDENCE UPON WHICH THE APPEAL IS TO BE BASED. (F.S. 286.0105) THE CITY SHALL FURNISH APPROPRIATE AUXILIARY AIDS AND SERVICES WHERE NECESSARY TO AFFORD AN INDIVIDUAL WITH A DISABILITY AN EQUAL OPPORTUNITY TO PARTICIPATE IN AND ENJOY THE BENEFITS OF A SERVICE, PROGRAM, OR ACTIVI- TY CONDUCTED BY THE CITY. PLEASE CONTACT THE CITY CLERK' OFFICE, (561) 742 -6060 AT LEAST TWENTY -FOUR HOURS PRIOR TO THE PROGRAM OR ACTIVITY IN ORDER FOR THE CITY TO REASONABLY ACCOMMODATE YOUR REQUEST. THE BOARD (COMMITTEE) MAY ONLY CONDUCT PUBLIC BUSINESS AFTER A QUORUM HAS BEEN ESTABLISHED. IF NO QUO- RUM IS ESTABLISHED WITHIN TWENTY MINUTES OF THE NOTICED START TIME OF THE MEETING THE CITY CLERK OR HER DE- SIGNEE WILL SO NOTE THE FAILURE TO ESTABLISH A QUORUM AND THE MEETING SHALL BE CONCLUDED. BOARD MEMBERS MAY NOT PARTICIPATE FURTHER EVEN WHEN PURPORTEDLY ACTING IN AN INFORMAL CAPACITY. • LeCesse . • • Development Corp. • . • Facs /E -Ma Transm . . Date: 0 Number of Total Pages. To. _ -4, . c , Company: l /. kat "), 46)..../ Fax/e -mail : _ ' GC,:, ....... RE: .SOD d et 44 • • . • Message: . . beii . 6 ao o✓f t<nao4 dry J� ®pp • 14 tr Er os . • 1€ 4as ‘ ,....2y exfl,k.o /JI 4 ,o di eA A CA»? . , 1..,/1`4 '. - u / A / • • • • • • Important; This message is intended only for the use of the individual or. entity to which it is..addressed and contains information that is privileged, confidential and exempt from disclosure under applicable law. If the recipient of this message is•not the intended.recipient, you are hereby notified that the dissemination, distribution or copying of this communication is strictly..prohibited. Ifyou have received this • communication in error, please notify us immediately by telephone and return the original message to as at the below address via the US Postal Service. . . 654 South Northlake Blvd. Suite 450 Altamonte Springs, F132701 Telephone 407 - 645 -5575 Fax 407 - 645 -0553 WWW. Lecesse.com The City of Boynton Beach r ` CITY MANAGERS OFFICE P &Z #: • \ Public Art Manager f ' 100 E. Boynton Beach Blvd. Permit #: 1 P.O. Box 310, Boynton Beach, FL 33425 ° phone (561) 742 -6026 fax (561) 742 -6089 ``'.,o;v �, e mail ColesDobayD @bbfl.us www, Boynton BeachArts, orb Facebook: Boynton Beach Art in Public Places Public Art Information Form -B APPLICATION MUST BE SUBNIITTED WITH THE SITE PLAN APPLICATION Project Name ad ,on Project location (physical address) .Coo Den30 Bitto Company Name iNttynk _$4yi_t ._ Company Address . - i , L , . , . 21 .1. , : . r ., , a71V Company Phone VA, yr - .474'.7s' Web site maw. 1,°a,•rre. tom Contact Person 7"4 • 4: fi hyom Phone yop s ye" -Sr7s' Email 7% E ?rersrr. e,n», Project contact name 21m*t A 149069 Phone e/67•61e. SS7r ' Email fd», g ,(Ocom% Om Project description (include. the projects design /image intent, special features /amenities, special construction materials) ..rebl f #,ae � e J7%)/1 / #rr 1)e 1 A 94 , / 4 Jng4if 7114.1404 ri , r4/'' /� /'4.. Gnrchp ► 44, eckhe err 62 /MA JrAe AAP ,._ / • , _ Project markets to 73 # erioM/s APIA t.✓isifear ,b file J'ae. dem* env/n /y_ / A . Ft,• • C t, d✓ 1 Res/0mb /`.Q.at /M .eery forgo! Wrote" 446 irsifn ,&/LAO. Art Location /s in project J"lat � 01 8/�o 400 .4° /4o/ , ✓/ 1 nil /4 n hort1e /0/o24 Is the Art Location accessible to the public? Yes ✓ No Developer /Architect /designers concept for art Al dr4e, 4ley 4 e440.r It Will artist be hired by developer yet (yes or no) If yes, artist resume must be submitted for approval Call to Artists required through Oe Arts Commission h, (yes or no) Construction value for the project 7�,1R,O (official construction valuation to be submitted with permit application) 1% Public Art Fee = "re,D Budget for the Art element(s) in the project 70% of the 1% = rQ} Elect to pay public Art Fee in lieu of Public Art in Project (circle one) yes Site plan date J'e,,+,o oais,tm a d's Crrii/,7 ova 0,41 Estimated completion date Aesj &swis'r?? 0 Date received ordinance with recommendations and guidelines December 2013 . PaleyStudios Ltd. 1677 Lyell Avenue Suite A ROCHESTER, NEW YORK 14606 (585) 232 -5260 FAX (585) 232 -5507 ALBERT PALEY Biography • Albert Paley, an active artist for over 40 years at his studio in Rochester, New York, is the first metal sculptor to receive the coveted Institute Honors awarded by the American Institute of Architects, the AIA's highest award to a non - architect. "The allure of Paley's art comes through its intrinsic sense of integration of art and architecture," as one noted architect stated. Paley, Distinguished Professor, holds an Endowed Chair at the College of Imaging Arts and Sciences at Rochester Institute of Technology. Commissioned by both public institutions and private corporations, Paley has completed more than 50 site - specific works. Some notable examples are the Portal Gates for the Renwick Gallery of the Smithsonian Institution in Washington DC, Synergy, a ceremonial archway in Philadelphia, the Portal Gates for the • New York State Senate Chambers in Albany, Sentinel, a monumental plaza sculpture for Rochester Institute of Technology, as well as a 65 -foot sculpture for the entry court of Bausch and Lomb's headquarters in Rochester, NY. Recently 'completed works include three sculptures for the National Harbor development near Washington DC, a 130' long archway named Animals Always for the St. Louis Zoo, a gate for the Cleveland Botanical Gardens in Cleveland, OH, a sculptural relief for Wellington Place, Toronto, Canada, Threshold, a sculpture for the Corporate Headquarters of Klein Steel, Rochester, NY, and Transformation, a ceremonial entranceway for Iowa State University in Ames, Iowa. Pieces by Albert Paley can be found in the ermanent collections of many Y major museums including the Metropolitan Museum of Art in New York, the Museum of Fine Arts in Boston, the Museum of Fine Arts in Houston, and the Victoria and Albert Museum in London. Broadly published and an international lecturer, Paley received both his BFA and MFA from the Tyler School of Art in Philadelphia. He received honorary • doctorates from the University of Rochester In 1989, the State University of New York at Brockport in 1996, St. Lawrence University, in Canton, New York in 1997, and the University of Gothenburg, in Sweden in 2012. • PaleyStudios Ltd. 1677 Lyell Avenue Suite A • ROCHESTER, NEW YORK 14606 • (585) 232 -5260 ' FAX (585) 232 -5507 ALBERT PALEY Distinguished Professor holding the Charlotte Fredericks Mowris Professorship in Contemporary Crafts, School for American Crafts, College of Imaging Arts and Sciences, Rochester Institute of Technology, Rochester, New York Selected Major Commissions 2013 Cedar Rapids Library, Cedar Rapids, Iowa, Regeneration, exterior plaza sculpture, formed and fabricated painted steel, 19.5'11 x 43' W x 13' D Memorial Art Gallery of the University of Rochester, Rochester New York, Soliloquy, exterior sculpture, Centennial Sculpture Park, formed and fabricated stainless steel with a polychromed finish, 26' h x 10' dlam 2012 Hershey Penn State Children's Hospital, Hershey, Pa. The Promise, exterior plaza sculpture, fabricated and polychromed steel. 40' H Hilo University, Hilo Hawaii, freestanding exterior entryway sculpture, 40' H. 2011 Michigan State University, East Lansing, Michigan, external relief sculpture, 47' L. Wichita Waterwalk, Wichita, Kansas, exterior plaza sculpture, formed and fabricated weathering steel, stainless steel and bronze, 40' H, 2010 24th Street. Bridge Sculptures, Council Bluffs, Iowa, four freestanding exterior soulptures. 2009 Clay Center for the Arts and Sciences, Charleston, West Virginia, freestanding exterior sculpture. Mexico Sculpture, Monterrey, Mexico, freestanding exterior sculpture 2008 Trenton Station, Trenton, New Jersey, Zenith, freestanding exterior sculpture. Riviera Condominiums, Fort Myers, Florida, freestanding sculpture Village of Hope, Orange County, California, entrance portal. National Harbor, Alexandria, Virginia, exterior pylon sculptures. 2007 Iowa State University, Ames, Iowa, Transformation, entrance sculpture. Klein Steel Corporation, Rochester, New York, Threshold, exterior sculpture. 2008 National Cathedral, Washington, D.C., Good Shepard Chapel Entrance Gates. St. Louis Zoological Park, St. Louis, Missouri, Animals Always, exterior plaza sculpture. 2005 Memphis Museum of Art, Memphis Tennessee, Memphis Portals, exterior gates. 2004 D C Commission on the Arts and Humanities, Washington, DC. Epoch, exterior sculpture. Lake Mirror Park, Lakeland, Florida. Tribute to Volunteerism, exterior sculpture. Cleveland Botanical Garden, Cleveland, Ohio. ceremonial archway. Monahan Pacific, San Rafael, California. Volute, exterior sculpture. M D Anderson Ambulatory, Houston, Texas. Tree of Life, interior sculpture. 2003 Rochester Institute of Technology, Rochester, New York. Sentinel exterior sculpture. 2002 Hotel Pattee, Perry, Iowa, Reconfiguration, pair of sculptural archways for courtyard. Wellington Place, Toronto, Canada. Constellation, sculptural relief for facade. Columbia Public Library, Columbia, Missouri.. Cypher, pair of .entrance sculptures. 2001 Florida Gulf Coast University, Fort Myers, Florida. Cross Currents, exterior sculpture. 99 North La Cienega Blvd., Beverly Hills, California, Oblique, exterior sculpture. The Commission Project, Rochester, New York. J D Award Sculpture. 2000 Naples Museum of Art, Naples Florida. Portal Gates. University of the South, Sewanee, Tennessee. Architectural Screen. f 1 Eastman Kodak Company, Rochester, New York. Diversity Award Sculpture and Medallions. 1999 Florida State University, Tallahassee, Florida, Stadium Gates. The Toledo Museum of Art, Toledo, Ohlo, Confluence, design of meeting and banquet space including sideboards, sconces, and mirrors. • 1998 Adobe Systems, Inc., San Jose, California. Horizon, exterior sculpture, water fountain and lighting features for plaza complex. Anchorage, Alaska, The Municipality of Anchorage, Solstice, exterior sculpture. University of Toledo, Toledo, Ohlo. Symbion, exterior sculpture, 1997 San Francisco Civic Center Court House, San Francisco, California. Design of Rotunda Entrance Portals. Ohio State University, Columbus, Ohio. Gnomon, exterior sculpture. American Bankers Insurance Group, Miami, Florida. Exterior Sculpture. Victoria and Albert Museum, London, England. Sculptures, honorary awards. Miami University, Oxford, Ohio. Entrance. Portals for Alumni Hall. 1996 Bausch and Lomb Corporate Headquarters, Rochester, New York. Genesee Passage, exterior sculpture. • Sony Pictures Entertainment, Culver Studios, Culver City, California. Primordial Reflections, exterior sculpture 1995 Federal Building, Asheville, North Carolina. Passage exterior sculpture. 1994 Federal Courthouse, Camden, New Jersey. Metamorphosis, interior sculpture for rotunda. Victoria and Albert Museum, London, England. Museum Bench. 1992 Montgomery County, Maryland, Silver Springs, Maryland. Criss- Cross, exterior sculpture. 1991 State University, Phoenix Campus, Phoenix, Arizona, Ceremonial Gateway. 1990 AT &T, Promenade Two Building, Atlanta, Georgia. Olympia, exterior sculpture. Roanoke Airport, Roanoke, Virginia. Aurora, exterior sculpture. Birmingham Museum of Art, Birmingham, Alabama. Confluence, exterior sculpture, 1989 City of Rochester, New York. Main Street Redevelopment Project. Bridge Railings. Naples/Marco Philharmonic Building, Naples, Florida. Main Entrance Doors. 1988 Cornell University Medical College, New York, New York. Window Screen. Memorial Art Gallery of the University of Rochester, New York. Convergence, interior sculpture. State of Connecticut, Hartford Superior Court Building, Hartford, Connecticut. Hexed, Interior sculpture. 1987 Wortham Center for the Performing Arts, Houston, Texas. Eight Stairway Sculptures. Massachusetts Bay Transit Authority, Milk Street Station, Boston, Massachusetts. Entrance Gateway. Museum Towers, Philadelphia, Pennsylvania. Synergy. exterior archway sculpture. 1986 Gannett Publlehing Corporation, Washington, DC. Bronze Wall Relief New York State, New York State Governor's Art Awards. 1985 Virginia Museum of Fine Arts, Richmond, Virginia. Pedestrian and Vehicular Entrance Gates. The Willard Building, Washington, DC. Interior sculpture, Door Handles. 1984 Light Rail Transit System of Pittsburgh, Pittsburgh, Pennsylvania. Poster Cases. Harro Theater East, Rochester, New York. Conclave, exterior sculpture. 1983 Hyatt Grand Cypress Hotel, Orlando, Florida. Stair Enclosure. Clyde's Restaurant, Tyson's Corner, Virginia. Fountain. Merritt Gallery, Rochester, New York. Entrance Gate. Marriott Hotel, Washington, DC. Gates. 1982 Strang Museum, Rochester, Newyork, Exterior sculpture, 1981 Pennsylvania Avenue Redevelopment Corporation, Washington, DC. Tree Grates and Benches for Pennsylvania Avenue. 1980 New York State Senate Chambers, Albany, New York. Two pair Portal Gates. Prospect Place, Washington, DC. Exterior Clock. 1979 Clyde's Restaurant, Tyson's Corner, Virginia. Pergola, Banisters, and Railings, Push Plates for revolving doors. 1978 City of Philadelphia, Redevelopment Authority, Security Screens. 1976 Gannett Corporation, Inc., Corporate Headquarters, Rochester, New York. Fireplace Hood. 1975 Hunter Museum of Art, Chattanooga, Tennessee, Sculpture Court Enclosure. 1974 Smithsonian institution, Renwick Gallery, National Museum of American Art, Washington, DC. Portal Gates. Selected Permanent Collections Birmingham Museum of Art, Birmingham, Alabama The British Museum, London, England Columbus Museum of Art, Columbus, Ohio Delaware Art Museum, Wilmington, Delaware Detroit Institute of Arts, Detroit, Michigan Cambridge University, The FltzwIiliam Museum, England Art Gallery of Western Australia, Perth, Australia Gannett Publishing Corporation, Washington, DC High Museum of Art, Atlanta, Georgia Hunter Museum of Art, Chattanooga, Tennessee Memorial Art Gallery, University of Rochester, Rochester, New York The Memphis Brooks Museum of Art Metropolitan Museum of Art, New York, New York Minnesota Museum of American Art, St. Paul, Minnesota Museum of Art , Brigham Young University, Provo, Utah Museum of Fine Arts, Boston, Massachusetts • Museum of Fine Arts, Springfield, Massachusetts Museum of Fine Arts Houston, Houston, Texas The Newark Museum, Newark, New Jersey Philadelphia Archdiocese, Philadelphia, Pennsylvania Philadelphia Museum of Art, Philadelphia, Pennsylvania Smithsonian institution, Renwick Gallery, Washington, DC Strong Museum, Rochester, New York Toledo Museum of Art, Toledo, Ohio Temple University, Philadelphia, Pennsylvania Victoria & Albert Museum, London, England Virginia Museum of Fine Arts, Richmond, Virginia The White House, Washington, D.G. Worcester Art Museum, Worcester, Massachusetts Wustum Museum of Fine Art, Racine, Wisconsin Yale University Art Gallery, New Haven, Connecticut Selected Awards 2010 American Craft Council Gold Metal Award for consummate craftsmanship. 1997 Smithsonian Institution, Masters of the Medium Award, Washington, DC 1995 American Institute of Architects (AIA), Institute Honors Recipient, Lifetime Achievement • Award National Association of Schools of Art and Design, Citation for Distinguished Service In the Visual Arts 1994 American Craft Council (ACC), Inducted to the College of Fellows 1982 American institute of Architects (AIA), Award of Excellence Selected Exhibitions 2014 Albert Paley Retrospective, The Corcoran Gallery, Washington D.C. 2013 The Fund for Park Avenue, Paley on Park Avenue, 13 monumental sculptures exhibited ( ( .. along the median of Park Ave, NYC. 2012 Albert Paley Sketches & Steel, The Polk Museum of Art, Lakeland, Florida. 2011 Albert Paley Sculpture, Naples Museum of Art, Naples, Florida. 2010 Albert Paley in the 21 Century, Memorial Art Gallery of the University of Rochester, Rochester, New York Albert Paley: Celebrating a Contemporary American Sculptor, Joslyn Museum of Art, Omaha, Nebraska Geometric, Staccato and Lyrical: The Sculpture of Albert Paley, The Clay Center, Charleston, West Virginia 2009 -10 Albert Paley: Dialogue with Steel, Grounds for Sculpture, Hamilton, New Jersey 2008 -09 Monumental Forms: Drawings, Models and Sculptures, Academy Art Museum, Easton, Maryland • 2008 American Modernist Jewelry 1940 -1970, Fort Wayne Museum of Art, Fort Wayne, Indiana Rococo: The Continuing Curve 1730 -2008, Cooper - Hewitt National Design Museum, Washington DC 2007-09 Craft in America: Expanding Traditions, Craft In America Inc., traveling exhibition I 1 In the Shadow of the Alps, St, Urban, Switzerland 2007-08 Ornament as Art: Avant Garde Jewelry From the Helen Williams Drutt Collection, The Museum of Fine Arts, Houston, Texas 2007 Albert Paley Portals & Gates, Iowa State University, Ames, Iowa 2006 Open Spaces, Vancouver Biennale, Vancouver, British Columbia 2005 Transformations, the Language of Craft, National Gallery of Australia, Canberra, Australia 2004 Art Toronto, 2004, Toronto, Ontario, Canada 2003 Second International Sculpture Exhibition, Chetumal and Colima, Mexico 1999 Conju International Biennial '99, Conju City, Korea 1997 Albert Paley: Selected Works, Fine Art Society, London, England Art Expo Chicago, Selected Work from the Richard Gray Gallery, Chicago, Illinois 1996 Art to Art: Paley, Dine and Statom, Toledo Museum of Art, Toledo, Ohio. Age of Steel: Recent Sculpture by Albert Paley, Museum of Art, Brigham Young University, Provo, Utah • International Art Exhibition, Won -Kwang University, Iri City, Republic of South Korea 1993 Sculpture by Albert Paley, San Antonio Art Institute, San Antonio, Texas Towards a New Iron Age, Victoria and Albert Museum, London, England 1992 Albert Paley: Recent Sculpture, Samuel P, Ham Museum of Art, University of Florida, Gainesville, Florida "Design Visions," exhibition in association with The Second Australian international Crafts Triennial, Perth, Australia Tokyo Art Expo, exhibition of sculpture and project documentation, Tokyo, Japan. 1989 Albert Paley, National Museum of Wales, Cardiff, Wales . 1986 -87 Design in America, a. cultural exchange exhibition in Yugoslavia, sponsored by US Information Agency, Washington, DC • 1986 First World Congress of Iron, Aachen, West Germany 1976 Invitational Exhibition, Zlatarna Celle, Ceije, Yugoslavia. Design Award. Education 2012 Honorary Doctorate of Fine Arts, The University of Gothenburg, Gothenburg, Sweden 1997 Honorary Doctorate of Fine Arts, State University of New York at Brockport, Brockport, New York 1996 Honorary Doctorate of Fine Arts, St. Lawrence University, Canton, New York 1989 Honorary Doctorate of Fine Arts, University of Rochester, Rochester, New York 1986 -69 Master of Fine Arts, Tyler School 6f 'Ail, Temple University, Philadelphia, Pennsylvania 1962 -66 Bachelor of Fine Arts, Tyler School of Art, Temple University, Philadelphia, Pennsylvania Monograph • ■ ' Ratcliff, Carter. Albert Paley in the 21 Century. Rochester, New York: Paley Studios Ltd., 2010 Lucie - Smith, Edward. The Art of Albert Paley: Iron, Bronze, Steel. New York: Abrams, Inc., 1996 Kusplt, Donald. Albert Paley Sculpture. Milan: Sklra, 2006 Publications Sims, Patterson, Albert Paley on Park Avenue. Milano, Italy, Silvana Editoriale, 2013 Gilbert, Lela. Albert Paley Reconfiguration. Plntaubo Press, 2008. Shearer, Linda. Albert Paley Threshold. Milan: Skira, 2008. Rowe, M. Jessica. Albert Paley Portals and Gates. Ames, Iowa: University Museums, Iowa State University, 2007. Kusplt, Donald. Albert Paley: Sculpture, Milan, Italy: Sidra, 2006. Yanington, James ed. Sentinel: The Design, Fabrication, & Installation of the Monumental Sculpture by Albert Paley at Rochester institute of Technology, NY. New York: RIT Cary Graphic Arts Press, 2005. FSU Museum of Fine Arts. Albert Paley: Sculpture, Drawings, Graphics, and Decorative Arts. Tallahassee, Florida: Florida State University, 2001. BYU Museum of Art. Albert Paley: Age of Steel. Utah: Brigham Young University, 1996. Memorial Art Gallery. Inspiration & Context: The Drawings of Albert Paley, Rochester, • New York: University of Rochester, 1994. Selected Film and Video 2013 Albert Paley on Park Avenue, Produced by Brianna Byrne, WXXI, Local Broadcast and international Internet distribution May — June 2013. 2006 Machi, Tony, Albert Paley: In Search of the Sentinel. Produced and directed by Tony Machi, Mach! and Machi Productions. Winner of a Golden Eagle Award and. a New York State Emmy Award. (Approx. 60 min. High Definition video) PBS National Broadcast. 1999 Machi, Tony, Albert Paley: Man of Steel. Produced and directed by Tony Machi, Machi and Machi Productions. (Approx. 57 min. video • color /sound) PBS National Broadcast, January 12, 2001. 1994 Albert .Paley - Metal Artist. NHK TV (Japanese Public Television). In Japanese (Approx. 20 min., HDTV color /sound). 1987 Albert Paley's Albany Gates. 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S [ • 4. j� 1fi, 11 dl • a } a Ipj ,ie d ` 1 j 1 s y i` 'V 1 1 rt A : 1,,,, , , p fr 4-44 ,^ " am. f r ' " 1 " "4 Ili ........ . - 'ate ,, II . ?II , i I ' l a 1 i -- t /i '4 K 1 l ' :1/ , ,e'''' ' ' ' : :-..7 `,1 ; r ...;!--'-'''-•'-'''. . . \ I ' i rr I 1 ff iii .' }L-. \` . i I lI { � .-. ^`°' ' I 1, 1 B a ro q u e . i d , i r —, t i J^ a � C� 4 , ../" , I 1, � 1 . .�i 1. 1 . , ..) i Pa ...,, - 1 „, ,.- -4 , -, - -- i i ? 4, ^ I - r t ri A Conversation with ° �' . ”` • 1 , ' I �1, /— ..,� -' ter, 1 I � r _. ^! -- i[. 1 Ai P ( Il .. l BY JAN GARDEN CASTRO Albert Paley's monumental forms offer a metaphorical resolution to a dilemma first posed by the Industrial Revolution, when it disempowered the human (and human labor) by elevating machines. Today, that revo- Luton has, of course, gone further, morphing into an electronic jugger- naut with even greater capacity to dehumanize by reducing us to mere dots in cyberspace. Paley's magical style somehow integrates nature, ' humanity, science, and industrial materials into empathic forms with all i the fluidity, asymmetry, and surprise gestures of bodies in motion. Like ;11 the artist himself, these constructions have big personality and presence, Vii' F yet they somehow remain nimble and accessible. Monumental art that is "friendly" and "human" seems like a new category. Paley's web site <www.albertpaley.com> gives a full list of his numer- li ous accomplishments. A 5o year retrospective recently opened at the 0 1 i Corcoran Gallery of Art in Washington, DC, and will remain on view #' g through September 28, 2014. His work can be found in many museums, 1` i I Opposite: Jester, Formed and fabri- including the Metropolitan Museum of Art, the Boston Museum of Fine a cated painted steel, 1s-75x9x7ft. Arts, and London's Victoria and Albert Museum. And his more than 50 r2 Above: Portal Gates, 1974. Forged steel, f site- specific commissions include Animals Always (2006), a 13o-foot-long brass, copper, and bronze, ga -75 x 72 x 4 archway for the St. Louis Zoo, and Epoch (2004), for a plaza in Washing- k I - • in. Commissioned for the Renwick Gallery, o S mithsonian American Art Museum. ton, DC. . Swlpfire ) 2014 4s 1 l e ` i I i \ . r., f Synergy, 3987• Forged and fabricated painted steel, , 25 x 54 x 3 ft. Work installed at Museum Towers, „. 's' i Philadelphia, PA. I th ro u g h hamm ering, it spreads, it delin- � ' ti eates. You're using don square barst to z round ..�. make a linear statement, so the quality of a line is important. The early work was a � ' lyrical organic form that l was drawing in ` 'l : space: How does a line begin and end l` ( t when you have intersections of lines, posi- 1 11 i i ��- tive and negative space? 1, 1 1 ` ` � ` � ;� ' ` The studio is not a factory but a space for I - aesthetic research. I started with a forged # , — j _1 r'' ` . = = *i'` - vocabulary, then I engaged in fabricated • * r ° : ; ,, ®i— T _ forms, which allowed me to deal more with - _ - volumetric relationships" So, a whole transi- _ _ -- ii tion happened with the interplay of linear �' ; quality and fabricated aesthetic. One of the consistencies in my work is �; I � the dialogue of opposites, which creates a ri __ _ l i — 3 synergy because of contrast, but 1 also try `l , ,,. )an Garden Castro: How has your aesthetic direction monumental v sculptures at s understanding it Ps robably baroque sensibility. k I Portal Gates (1974) to the 13 emotionally c Besides visual interplay, there are roughly z installed Albert P alley: : The on ftim ;' v A Paley: s sp pan n of last time earl from the Renwick Gallery to now is metal wouldn't say ally or emotionally. With the philosophy i visual vocabulary i ; couple of things come into play. Obviously, my roach, a design theory is deve!ope it's process driven, but e Renwick Gates metallurgy are intricately involved with the forged: you heat the steel bend it, and to cal philosophy. My approach ' thetic. For instance, to form development, in contrast, is emo- tk tionally based and intuitive. The emotional tk " f context, by its nature, is nonverbal, yet a CI , dialogue happens between the intellec- ■ - , ,• — ; tual component and your emotional sensi- ` ' " ,i isr p bilities. When we speak or interface, there t' °. .� is always a balance between these polariz- �r w r `� > • ! r r � l - ing opposites. The work deals with the 1 interplay between the lyrical quality of line • ' -. \ ` 4` or gestures in space and the geometric con 1 L" .. I text. The piece is not kinetic, but the viewer : [ . \ r� experiences a point in time and may con " ' ' ." ... . ' template what happened before and after a ,1 " ' 1 X gesture. t ) Another consideration is that the major - j l n r i i of my work over the past 30 years is 1 ' — ;'' ' �> site- specific, so the sca proportion, sym- �11' r' (( holism, and ambiance have a relationship F. r. i r + I J ,., to the architectural environment and human t t — _ :::0 t = -rte scale. The works for Park Avenue were sen I I J r ,(„ " !" sitive to the site. Their positioning had a Some +�— f sense of progression, of passage. S eare m � 1,1 l n• s, r - and fabricated !� '-"�•' r';' M,s ri.,3kr P. = ?x r, °" !.'_ Envious Composure, 2013. Forme an l�, jl.; painted steel, 38.25 x 7.5 x 7 ft. , ,. So,IptWe 33.6 1,� 1 ,IV i ` i ' ' 1 r architectonic, some geometric and logical, and it's gestural -the closest context is Abstract Expressionism, which is nonliteral and I some lyrical and ephemeral, some organic; deals with process, gesture, frozen motion. But then, if you go back through time, 1 some deal with complexity; some are stain- there's the Baroque sensibility; Art Nouveau is the closest to an organic sensibility; then ' less steel, which is reflective. Besides the you have Celtic and Islamic ornament. All of these deal with complexity of form and ii form vocabulary, I also wanted to pick up implied symbolism in the broadest context. And, as sculptures in space, they deal with on the dynamism of New York City — there's light, shadow, gravity, and balance. So, it's more than just a graphic compositional sensi- I - vehicular traffic, pedestrian traffic, noise, bility; it deals with articulation of space. My work does not embrace Minimalism in any .l and I wanted to create a place of memory way. within that pattern of chaos. The location JGC: How did you reach this point? Your education at the Tyler School of Art was classical. also deals with the sensibilities of the city: AP: Formal training is important. The 19605 was a transitional period for art schools in �; is the dynamic thoroughfare in the low 5os, general. Some would teach Pop Art or style, but Tyler was different, more of a Renais- I3 the more residential section of the 6os, sance education, and art history played a prominent role in my appreciation and under- f and the last group of work at the Park standing of form development- Also, there was a huge emphasis on technique Avenue Armory. I wanted to engage the ceramics, stone carving, wood, graphic materials. I was well grounded. It's different cultural fabric of Park Avenue with those from trying to find a stylistic way and also from the information overload that people different urban sensibilities. experience today. I II JGC: Do you have a name for your aesthetic JGC: In Languorous Repose and Envious Composure, which flanked the massive Park I I s t ' ' direction? Avenue Armory, I saw male and female Rochester (Paley 's home city) Seneca warriors Ii I AP: A lot of people see a line to the Con- saying, "You should see our beautiful does scale and presence. There is all of that there. culture." . iii, " structivist school. They might look to AP: That's interesting. Sculpture 7atlin or George Rickey, but because my Envious Composure is sensual, sensitive, and gestural —the most lyrical of all. It folds in 1, work is more emotionally based and deals on itself; you could call it feminine. In Languorous Repose, the aggressive silhouette {{{1 ,i with my I m personal experience, l don't really extends into space and deals with a shifting geometric base. In the relationship of t wi a with !` align with movements as such. Having two, if you were to say male and female, there would be that p said that, because of this complex dialogue jester and Encore on 57th Street, you had the play between Lyricism and assertion —that 1.1 1 that deals with alterability and change— yin /yang dialogue of opposites. I would hope that within the dialogue there's an equality ,, y, Ij 3 of balance, that one does not supersede the other. Progression, 2013. Formed and fabricated, painted JGC: I was thinking, too, of a dialogue between Progression and the Seagram building. , , I p iYs steel, 9.25x44.25 x4ft. AP: This was different from my approach to the other sculptures. Usually l start w ith ! i li [ i — (P i, I L. i ; I .„... � � � b fb `. ti r r +i e e . ' V 4 {�s�� , .C= t ® i . If i". _.�• 1 � d � ::�� � _ � ,' � - �" , iw�'.' ^'st.",� ��'; Ill • s , sadptaoe lulyb109ust 2014 J + 1 ,e -' * 4A hundreds of drawings, then I make cardboard models. From the initial model, I use the I I s t!' E computer to scan each element, and then we torch -cut a steel model. So, we go from a ```+ - 1 # } . , ij { '4" drawing to a cardboard model to a metal model, which becomes the basis for my sculp- • ' � '';: > , " ' "tt l ,, ` ture. Progression comes from a lithograph that I did in the late '90s and then cut into a °- `._ 4,,2 i; ' ' 'rr t collage. The litho was a drawn line with positive and negative shapes; when you see the 1 I I I „../ : & � `§ piece, you can see what it was cut out of— something similar to Matisse's cut -outs. (I • i tit 3 a , f 1 : , Because the sculptures are non - literal, each individual work makes reference to itself. I .z l All of these forms interrelate structurally, compositionally, or gesturally. The sculpture d' I 14 'X . ' ' .. '" I µ, : ' explains itself: its balance, its relationship, its ambiance. An element cut out of one form l i ' L l am # • m be placed into another five feet away. You're dealing with.a sequencing of time. i i t 1 r - I ; x\ It's the same kind of dialogue you have, inadvertently, with landscape: you experience 4111 i _ , / $1 , 1 • the physi of its evolution as you walk through it. - i r "Paley on Park Avenue" was an exhibition of my largest scale sculptures in situ to ;1 r ' • ` t t .l i date, so I wanted it to reflect the scope of what I'm dealing with. I've talked about the Y of the environment to the viewer, but 1 never name the pieces after r i • "` _ #" they're d relation ship one. It has to do with my relationship to the sculpture, as well as thinking ; i'6 —� about the sculpture's relationship to the site. I don't know if "provocative" is the right • word. On 67th Street, Envious Composure had a sense of referring to itself —the forms £ • enclose and resolve themselves; there's a sense of peaceful independence. The title should direct the viewer to the emotional form context. I can't assume what people feel. I : :;,<, . Jester makes an obvious cultural reference, like a harlequin: a dancing red sculpture on f ., ' r N t r d 1 , , :V : its feet, extending into space. p ''''fi -'" c _'''' A =` JGC: There's humor in it too. • i ? , AP: I know. Visually, it engages. With all of my work, the symbolic content is there, because Above: Tilted column, 2013. Formed and fabricated, people see things in symbolic ways. It's how you form your relationship to the world. Sculp- t' naturally patinated steel, 19.83 x 9.42 x 7.92 ft. ture is always symbolic in that respect. Sometimes it's concrete, like Tilted Column. l= , Below: Kirin, 2009. Formed and fabricated, natu JGC: Tilted Column was in front of a church with columns, and the title reminded me of 1 ; ! rally patinated steel, ux7.33x4S8ft. Brancusi's Endless Column. ii II I AP: That piece has a Constructivist sensibility of coming together and apart at the same f, 1 time. Gravity and wind keep it in balance —the dynamism of invisible forces. Another i; 13 important point: each steel sculpture weighs several tons, but people don't experience I the heavy weight as much as the gestural quality playing in space. There's a trompe Poeil aspect —the lack of physicality, which is a paradox. It's what sound does —it's an ' act of passage, it's ephemeral. Paradox is fundamental to what the work's about. What i it is and what it appears to be negate one another. JGC: As i understand it, you pre sold some of the 13 works to finance the installation. Were 1 , � you considering both the Pork Avenue site and the sculptures' eventual permanent home? - . --- 3.. AP: Not really. The works were all developed for Park Avenue, I moved to a new studio r ' , - • three years ago —a 40,000-square-foot space that, financially, took everything we had. 1 ' i ' l �,, r ,' When this opportunity came up, we had no money to create a new body of work, so we '!'r Ix\ M1 • , ' t , ' '- • l t - went to individuals and institutions who had supported us before, and,.fortunately, we .. f , . . . *` pre sold eight works, which helped to finance the exhibition. i If , t 'Q' • 1 ` » ' l JGC: Xu Bing once told Jason Edward Kaufman that public art is "the hardest thing to do," e T ,� ' --': 1 t', _ / ; ? , A tf' . h calling it "inflexible and hard to look at comfortably." Do you ag ree? 1! ( ' , r 1 '' " • :'` - AP: Public art is misunderstood. It's a different dialogue. The romantic notion of an artist P. 3` , , , 1 ' = a developing an artwork unencumbered by outside forces is one extreme. When you i r' • rrr l ' ; design something site specific in the public arena, the site determines much of the qual- h - 1 i .- ¢ . ity of the work: architectural scale, landscape design, symbolism, the institution, com- i 1 t i ', -, .. 4 munity, and so forth. A lot of artists may see that as restrictive, but if you're a swimmer, a t -k. \ \ , :% I is the water an impediment to you? It's a different equation. For me, no matter how suc- .\1 r ' '; ; cessful an artwork is, if it's put in an environment and doesn't engage and amplify that li ` "\" - • ,. ,, environment, it's not successful. Architecture also has to satisfy its variables. a , .K..� - - JGC: You have included iconic symbols in many works, including the staff in Good Shep I - ' herd Gate for the National Cathedral and natural symbols in Kohl Gate for the Cleveland i? IJ. • 1p 4 as Swlpturo 33.6 11j,i i Botanical Garden and Animals Always for I was also a goldsmith and furniture designer for several years" The exhibition shows the I the St. Louis Zoo. Could you discuss one of form development across these different areas, as well as drawing, which has always been • these projects? part of my process. Carter Ratcliff's recent Art& Antiques article ( "Certified Organic," June AP: Most of my work is non - figurative and 2013) really puts that into context, and that's what I hope the retrospective will do, non - literal- Form is my vocabulary. If I'm JGC: You do all of your own fabrication in your Rochester studio. How do you manage dealing with an animal or a figure, then what is basically asmall business? li ` all of a sudden, it is put into a historical AP: Most of my career has been outside the gallery system. i have 16 people, because context. The challenge is to personalize we do a lot of large -scale work. I have a director, a project manager, a structural engineer, that form. Basically, I draw all the time, so somebody who deals with computer generation of forms, an archivist, a reception - the animals are a stylization of my way of ist, a business manager. Half of my staff deals with support services, and half is hands on. seeing form. For the St. Louis Zoo, there One person, Jeff Iubenville, has been with me for 28 years as my fabrication manager are animals and their environments. I'm That's what we do in- house. We also coordinate with shipping attuned to the natural world, but it was a contractors. and photography sub- I �' i�. challenge to incorporate it into the work, . Probably the most difficult aspect is that everything we do is one of a kind; you bring I, i and it increased my vocabulary. past experience to bear, but there's always a learning curve. We do a lot of research, feasi- $: JGC: Your retrospective at the Corcoran Gal- bility studies. My studio process aligns more with an architect's practice than with a scalp- e !{J; l ery fol lowsa number of solo exhibitions in tor' sstudio. Becauseofthesca ,wehavetodealwiththeengi tk� the past several years. What are you show- and to interface with other professionals. I started out as a one -man band, and the stu- ! ing there? dio has grown based on the challenges of the work. AP: It's a 5o year retrospective, and for me JGC: How do you handle health and safety issues? ) there's a consistency, but when the work AP: Safety is primary. We have safety gear and specific training that all employees go through. started out, I was dealing with the school Except for me, everybody's been pretty safe. I've had some pretty bad accidents. In 2002, I is l ' of direct carving; then I became involved was in a propane explosion and nearly died; 40 percent of my body had third - degree burns. i" i i with the metal vocabulary and a forged That was a freak accident, though. Our safety record is very 1 aesthetic. The iron brought me into the con- ry good in the studio. J GC: W hat kinds of things are most important for sculpture students to learn? 11 text of the dialogue of art and architecture. AP: What is primary is one's unique voice, an awareness of where one fits into the cul- + 11111 tural or art historical continuum, and the skills to manifest one's own abilities and to ; MimaLsAlways, 2005. Formed and fabricated Cor- interface with others. ten steel 40 x 130 x 12 ft. Work Installed at the St ( . Louis Zoo, MO. /an Garden Castro is a Contributing Editor for Sculpture. l a • I s a �' C• - e A y I `s tfry f 7 ', J'/ . / 1 .---, • r " v ` v ` s fi K , - 'tG - — ' i . sal ' 4 (. l - x r , _ .., _ 1 _ a , 9' �� 1 \* .S 1t � llrr • t` . -. , ' ' 1 � - } � f ` _ • � ■ , 4: t c- ..r '' rr r� a i, t '� 4',1', ` �.• - - ,a 'u' -y' �' :d ' v' j'�r „..r? d, b 1 i�' k„.: -=4..':. . k. >, - v , v w as T"Tiz ti a� :',-.. *„ x • h r ' i ` It. „,,- .gym �” 6 . } - ",. { _ a Y �, ,,. "•r a& Y ' x my S °` •-�_ ... �.. m ` r 4' r Wck �- . °,'— F. 1 __-. ._..— . .-.�..- .s..' :..�.,:,..a. y,, ,.._..•;,..;.». -... _^ - .ma°•,ar= "- ""^^rv,�"i_ ,F.'- .s ...w... ?' Scdptun Iuly /August 2014 _ I � ' 4 l ° . ALBERT PALEY SCULPTURE INFORMATION PROPOSED FOR 500 OCEAN PROJECT (SW corner of East Ocean Ave and Federal Hwy) ARTWORK MEANING AND DESCRIPTION (artwork maquette and rendering will be provided at the meeting) There are several elements which relate to the Gateway theme as both to the gulfstream but also as a gateway to the new Boynton downtown. Mr Paley has a vision that the sculpture" would provide a dramatic silhouette when accented against the sky. The spire like shapes projecting into the sky engage the quality and play of the sunlight. These spires when painted yellow would contrast dramatically with the blue of the sky. Thematically, the splayed elements have their basis in my interpretation of palm fronds. The fronds thin delicate floral elements that project into the sky and are so much a part of the landscape would here introduced p p u e e be t oduced and experienced within a different context. Although the sculpture is not kinetic, the interlaced folding metal shapes indicate movement as if they were being articulated by the air from the sea. As the sun traverses, the play of light and shade will dramatically increase the sculptures dynamism. At various times the sculpture may be seem in silhouette or in aspects of shadow - changing constantly with the passage of time. " ARTWORK LOCATION (site plan will be provided at meeting) The corner location along with the pedestrian plaza for the sculpture will create a sense of place and identity for the community. At a height of 40 ft it will also remain in view for long periods from all directions and make a strong statement as to the city's commitment to art and as a focal point for art along Ocean avenue. ARTWORK BUDGET Estimated construction Value- our staff is working the budget and will . coordinate with city staff. We are currently estimating the value will be in the range of $300k. ARTWORK DIMENSIONS The sculpture is 40ft in height, 16 ft wide and 10 ft deep. ARTWORK CONSTRUCTION Construction of stainless steel and a polychrome paint finish. ARTWORK MAINTENANCE The owners of the 500 ocean project will maintain the sculpture and the plaza. Given it's prominent location it will be incumbent upon the owners to maintain in excellent condition.