Winter 2014 — issue 345

The Winter 2014 issue highlights the Merging of Architect and Sculptor.  Articles are Sculptor and Architect: Ken Price and Frank Gehry; Tom Van Sant in Harmony; and Steilneset Memorial: Vardo, Norway.  Another article features Barry Svigals and his work in the new Sandy Hook Elementary School, while another features National Sculpture Society’s Henry Hering Art and Architecture Award, with a mention of exhibitions of work by Michael Graves and Heatherwick Studio.


Elizabeth Helm
National Sculpture Society and Architecture

Through the years, the National Sculpture Society (NSS) has had its own affair with the architectural community.

Sheryl Morang Holmberg
Steilneset Memorial – Vardo, Norway

Vardo, Norway.  Ancient geographers called it Ultima Thule, the end of the world, the northernmost land in the inhabitable world. North of the Arctic Circle, in this land where sea and sky meet, two installations stand at the edge of the Barents Sea – art constructed to hold the memories of a tragedy at the edge of history.

Annalisa Zox-Weaver
Tom Van Sant In Harmony

An instructor of the famous trio of 1930s Mexican muralists–Alfaro Siqueiros, Jose Clemente Orozco, and Diego Rivera–once counseled his students that architecture without “sculpture is a body without a voice.”

Susan Barnes
An Artist Transforms Sandy Hook Elementary School

The enterprise of transforming a site of raw brutality into one of learning, curiosity, and serenity represents a poignant step in the long and impressive career of the architect and sculptor Barry Svigals (b. 1948).

Ellen Lubell
Sculptor And Architect: Ken Price And Frank Gehry, A Shared Path

Los Angeles-born sculptor Ken Price (1935-2012) and Canadian-born architect Frank O. Gehry (b. 1929) are two names that are often linked.  This is a result of their fifty-year friendship, and because Gehry designed Price’s recent major retrospective at three important museums in the United States, exposing Price to a larger world through Gehry’s installations and celebrity, and because viewers see echoes of one in the other’s work.