{"id":142714,"date":"2025-03-19T01:27:21","date_gmt":"2025-03-19T01:27:21","guid":{"rendered":"https:\/\/peraltafinancing.com\/entertainment\/art\/back-up-all-you-want\/"},"modified":"2025-03-19T01:27:21","modified_gmt":"2025-03-19T01:27:21","slug":"back-up-all-you-want","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=142714","title":{"rendered":"Back Up All You Want"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div class=\"et_pb_section et_pb_section_10 et_section_regular\">\n<div class=\"et_pb_row et_pb_row_19\">\n<div class=\"et_pb_column et_pb_column_4_4 et_pb_column_20  et_pb_css_mix_blend_mode_passthrough et-last-child\">\n<div class=\"et_pb_module et_pb_text et_pb_text_35  et_pb_text_align_left et_pb_bg_layout_light\">\n<div class=\"et_pb_text_inner\">\n<p>\u201cSculpture is something you bump into when you back up to look at a painting,\u201d the painter Ad Reinhardt once famously opined, and it\u2019s true that the physical accommodations that sculptures demand have made them problematic for many collectors.\u00a0 They take up so damned much space, and their weight, for anything larger that a table-top piece, means they\u2019re pretty much going to stay wherever they\u2019re plopped.\u00a0 This inconvenience is true for institutions as well as for private collectors: a church the size of St. Peter\u2019s in Rome can handle a 14-foot-high sculpture such as Bernini\u2019s <em>Saint Longinus<\/em>; most American churches can\u2019t.<\/p>\n<p>This means that large-scale sculpture usually works best out-of-doors.\u00a0 Baroque princes had formal gardens with occasional sculptures sited at strategic points.\u00a0 Contemporary sculpture, however, often finds itself in a park devoted to the art.\u00a0 Roberta and I live within an easy hour\u2019s drive from two such parks.<\/p>\n<p>Storm King Art Center, established in 1960, occupies almost 500 acres of beautiful landscape outside New Windsor, NY.\u00a0 An hour north of New York City, it attracts around 200,000 visitors a year from all over the world.\u00a0 The collection is world-class, featuring a Who\u2019s Who of major contemporary sculptors such as Richard Serra, Mark di Suvero, Louise Nevelson, Martin Puryear, and many others.<\/p>\n<\/div><\/div>\n<div class=\"et_pb_module et_pb_image et_pb_image_14\">\n<p>\t\t\t\t<span class=\"et_pb_image_wrap \"><img decoding=\"async\" loading=\"lazy\" width=\"784\" height=\"1045\" src=\"https:\/\/www.reaganupshawfineart.com\/wp-content\/uploads\/2024\/06\/Picture1.jpg\" alt=\"Ida O\u2019Keeffe, \u201cFlowers (Gardenias in a Pitcher)\u201d 1932\nOil on canvas, 8 x 7 inches\nPhoto courtesy Christie\u2019s New York\n\" title=\"Picture1\" class=\"wp-image-2214\" \/><\/span>\n\t\t\t<\/div>\n<div class=\"et_pb_module et_pb_text et_pb_text_36  et_pb_text_align_left et_pb_bg_layout_light\">\n<div class=\"et_pb_text_inner\">\n<p style=\"text-align: center\">Mark di Suvero, <em>E=MC<sup>2<\/sup><\/em>, 1996-1997.\u00a0 Steel, 92-3\/4 feet high.<br \/>Collection Storm King Art Center. Photo by author.<\/p>\n<\/div><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"et_pb_row et_pb_row_20\">\n<div class=\"et_pb_column et_pb_column_4_4 et_pb_column_21  et_pb_css_mix_blend_mode_passthrough et-last-child\">\n<div class=\"et_pb_module et_pb_text et_pb_text_37  et_pb_text_align_left et_pb_bg_layout_light\">\n<div class=\"et_pb_text_inner\">\n<p>Storm King is an environment that rewards Abstract-Expressionist inspired, testosterone-fueled sculptures.\u00a0 The environment practically shouts, Go Big or Go Home.\u00a0 George Rickey is a wonderful sculptor, but compared with di Suvero\u2019s behemoths, Rickey\u2019s 14-foot-high sculptures, displayed in a grove of trees, seem like early mammals, cowering in the bushes while dinosaurs were stomping about the plains.\u00a0 (I wonder if it\u2019s a coincidence that the female artists at Storm King don\u2019t seem to feel the need to thrust themselves against the sky \u2013 Maya Lin\u2019s <em>Storm King Wave Field<\/em> is literally grass and earth, seven undulating waves of soil stretching across four acres.)<\/p>\n<p>Storm King is extremely well-run and easily accessible off the New York State Thruway.\u00a0 Accommodations have been made for visitors with disabilities.\u00a0 Visitors can rent bicycles at the entrance, and trolleys transport people to the farthest corners of the park.\u00a0 It\u2019s a wonderful day trip from New York City, and I highly recommend it.<\/p>\n<p>The other site, an hour north of Storm King, has an altogether different vibe.\u00a0 <em>Opus 40<\/em> in Saugerties, NY, was constructed by Harvey Fite (1903-1976), who taught sculpture at nearby Bard College for many years.\u00a0 Originally a dancer, Fite became drawn to sculpture and studied in Italy.\u00a0 A 1938 trip to Honduras introduced him to Mayan dry-stone architecture, which became a profound influence.\u00a0 That same year, he purchased a 12-acre played-out bluestone quarry, and he built a house overlooking the quarry from beams salvaged from a 19<sup>th<\/sup> century barn.<\/p>\n<p>Fite had originally envisioned the quarry to be a source of stone and a setting he could shape to be a backdrop to his sculptures.\u00a0 He began constructing ramps and walkways, working mostly alone with traditional stonemason tools.\u00a0 Over time, Fite came to realize that the space he was constructing was more interesting than the academic sculptures he was making.\u00a0 <em>Opus 40<\/em> (so named because Fite thought it would take him 40 years to complete the work) was one of the first examples of a genre of sculpture since termed \u201cland art\u201d or \u201cearth art,\u201d a type of environmental art that creates sculptures in the landscape using natural materials or by shaping the land itself. By the time Fite was killed in an accident on the site, he had been working on the project for 37 years.<\/p>\n<p><em>Opus 40<\/em> cannot be taken in at a glance; it requires exploring the labyrinthine paths that Fite devised.\u00a0 One moment you\u2019re standing atop a wall with the sun beating down; the next moment you\u2019re threading your way along a cool, shadowy path barely wider than your shoulders. Fite had originally placed one of his carved statues, <em>Flame<\/em>, at the center of the work, but he decided that the work clashed with what he was trying to do, and he replaced it with a 14-foot-high, nine-ton block of hewn bluestone that he found lying in a creek near the property.\u00a0 Like the gnomon on a sundial, the monolith serves as a centering piece for the project.<\/p>\n<\/div><\/div>\n<div class=\"et_pb_module et_pb_image et_pb_image_15\">\n<p>\t\t\t\t<span class=\"et_pb_image_wrap \"><img decoding=\"async\" loading=\"lazy\" width=\"716\" height=\"955\" src=\"https:\/\/www.reaganupshawfineart.com\/wp-content\/uploads\/2024\/06\/Picture2.jpg\" alt=\"Ida O\u2019Keeffe, \u201cFlowers (Gardenias in a Pitcher)\u201d 1932\nOil on canvas, 8 x 7 inches\nPhoto courtesy Christie\u2019s New York\n\" title=\"Picture2\" class=\"wp-image-2215\" \/><\/span>\n\t\t\t<\/div>\n<div class=\"et_pb_module et_pb_text et_pb_text_38  et_pb_text_align_left et_pb_bg_layout_light\">\n<div class=\"et_pb_text_inner\">\n<p style=\"text-align: center\">Harvey Fite.\u00a0 <em>Opus 40<\/em>, 1938-1976.\u00a0 Bluestone.\u00a0 Photo by author.<\/p>\n<\/div><\/div>\n<div class=\"et_pb_module et_pb_text et_pb_text_39  et_pb_text_align_left et_pb_bg_layout_light\">\n<div class=\"et_pb_text_inner\">\n<p><em>Opus 40<\/em> is much quirkier than Storm King.\u00a0 It\u2019s harder to get to (the roads are narrow and unpaved), and it has few amenities.\u00a0 Yet this literally hand-made work, the result of a driven man\u2019s ambition, holds undeniable power.<\/p>\n<p>Reflecting on the difference between Storm King and <em>Opus 40<\/em>, Roberta said, \u201cOne is about money.\u00a0 The other is about passion.\u201d\u00a0 On further reflection, she decided that that wasn\u2019t fair; the sculptors at Storm King are obviously driven by artistic passion.\u00a0 So Roberta changed her evaluation: \u201cOne is about passion; the other is about obsession.\u201d<\/p>\n<p>Passion, obsession, and money (or the lack thereof). Throw in sex and death, and you\u2019ve pretty much summed up an artist\u2019s life.<\/p>\n<\/div><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<p>The post <a href=\"https:\/\/www.reaganupshawfineart.com\/back-up-all-you-want\/\">Back Up All You Want<\/a> appeared first on <a href=\"https:\/\/www.reaganupshawfineart.com\">Reagan Upshaw Fine Art<\/a>.<\/p>\n\n","protected":false},"excerpt":{"rendered":"<p>\u201cSculpture is something you bump into when you back up to look at a painting,\u201d the painter Ad Reinhardt once famously opined, and it\u2019s true that the physical accommodations that sculptures demand have made them problematic for many collectors.\u00a0 They take up so damned much space, and their weight, for anything larger that a table-top [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":142715,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[100],"tags":[],"dealstore":[],"offerexpiration":[],"class_list":["post-142714","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - 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