Coosje van Bruggen

Van Bruggen studied history of art at the University of Gorningen. From 1967 to 1971 she worked at the Stedelijk Museum in Amsterdam. Until 1976 van Bruggen taught at the Academy for Art and Industries in Enchede. In 1978 Van Bruggen moved to New York, in 1993 she became a United States citizen.

She collaborated extensively with her husband, sculptor Claes Oldenburg, since 1976. They were married in 1977. Together, they designed several large scaled sculptures such as the Inverted Collar and Tie in Frankfurt an Main. Since the early 1980s Van Bruggen worked as an independent critic and curator. In 1982 she was member of the selection committee of the documenta 7 in Kassel. In 1988, her work along with Oldenburg Spoonbridge and tassel was commissioned by the Walker Art Center, and became a permanent fixture of the Minneapolis Sculpture Garden as well as an iconic image of the city of Minneapolis. Van Bruggen published books about the early work of Oldenburg, the Guggenheim Bilbao and the works of Bruce Nauman.

Clothespin

Screwarch

Trowel I

Dusty Folwarczny

Dusty Folwarczny is an object maker. Raised in Winfield, Missouri just north of St. Louis she grew up on a large plot of land surrounded by a lake, hills, and woods; providing an early connection with nature and organic forms.

As an artist she attempts to explore the tension between heavy metal and gravity and, in many of her pieces, exposes the raw aesthetic of rust.

She has said this of her work: “When I am creating art, it is important to me that it is approachable and accessible. This is why I prefer to work in public spaces. Part of my sculpting process includes looking at a scrap pile of steel as a puzzle to be solved. I have a part of me that is drawn to making art out of steel. Maybe it is because Dad has the steel company and it worked its way into my subconscious. Maybe I like how incredibly strong the material is. Maybe it’s the raw textured surface or the beautiful oranges in the rust.”

Dusty attended Truman State University and received a Bachelor of Fine Arts in Sculpture. She currently resides in Chicago, Illinois. Dusty’s work is held in private and corporate collections.

(http://www.dustyfolwarczny.com/Home/biography)

Give

Pillumn

Five

Photos/Information: http://www.dustyfolwarczny.com/new-large-scale-sculpture

Jo Hormuth

Jo Hormuth was in born Grand Rapids and raised in Rockford. Her involvement in art started at a very early age. Following extensive travel throughout the US and studies at Western Michigan University, the School of the Art Institute of Chicago and the University of Alaska, Anchorage, Ms. Hormuth found herself back in Michigan in 1978. She enrolled that year at Grand Valley State College and in 1979 was the recipient of the Calder Fine Arts Scholarship. Her studies included a semester at the Slade School of Art in London. After graduating from GVSC she went on to receive her M.F.A. from the School of the Art Institute of Chicago (1983). She has exhibited in Europe, Japan and throughout the U.S.

After completing her graduate studies Ms. Hormuth worked on the restoration of many churches for the Archdiocese of Chicago. A growing interest in restoration and preservation coupled with a lifelong interest in painting materials and techniques led her to found Chicago Architectural Arts in 1984.

An essential aspect of each and every one of Jo Hormuth’s pieces is humor. Humor is the thread that created the web of Hormuth’s body of work. At times, it’s a visual pun, as with Chicago Window; at others it is flat-out weirdness, as withLast Night I Dreamed I Was a Butterfly. If there is a weft to the warp of humor, the weft would be color. Hormuth uses repeating color fields over and over, most directly in the Wink pieces, but manages to draw unique parallels between pieces, such as when Wink and Cabrini are seen next to each other. As John Phillips points out, “She transforms ‘the familiar’ to create situations that become springboards for the viewer to consider many relationships, contradictions and possibilities.”

( ww.gvsu.edu/cms3/assets/D653A93F...in.../Hormuthbio07.doc and http://chicagoartmagazine.com/2011/02/40-over-40-with-my-own-two-hands-chicago-sculptors/)

Last Night I Dreamed I Was a Butterfly, 1997

Cement Goose and Velvet

Wink II, 2009

cast epoxy, Flashe acrylic

Tower (ten), 2008

cast epoxy, Flashe acrylic

Photos/Information: http://www.johormuth.com/index.php

Dan Stewart-Moore

"I like to look for similarities and differences. It's something I do when I'm looking at physical, social or even metaphorical entities. I explore and then engage in a visual dialogue." 

"For me, this is a bit like exploring a new relationship between a couple. I ask myself what they have in common and what are the differences. Then why - considering the disparities - they still work together. Instead of people, however, I examine ideas and forms."

Bachelor of Arts (Visual) with Honours ANU	2002 - 2005
New Media certificate	1995
Certificate in Media Production and Communications	1994

http://www.danstewart-moore.com/index.htm

Gordon Fearey

Weave of Matter
I weave six inch wide strips of painted sheet aluminum into blankets. They would look like blankets, except that I incorporate bicycles in the fabric: threading strips through the spokes and frames introduces bumps and curves in the weave, which become exaggerated as the weaving progresses and turn the fabric into an undulating or three­-dimensional shape.

I feel driven to perform every aspect of this ritual: painting the rolls of primed aluminum without aim, as if I were rain or grass subject to accident; cutting them in strips in my improvised factory; suspending bicycles with wires as if they were my surrogates, traveling in an infinitely far-off galaxy; weaving the metal over, under, over with dull repetition, introducing scratches in the color from wear and tear, but also navigating the obstacles of the bicycles the way a squash vine navigates its way to sunlight.

Each of the phases of building a Weave of Matter piece is decisive, but incremental. It’s the accumulation of decisions that makes the piece, and pushes it beyond my comprehension. The methodical process, which is loaded with accident, relieves me of the responsibility for virtuoso picture-making and allows events to occur that I could not make up.

(http://www.gordonfeareyart.com/index.php)


Weave of Matter
22w x 8h x 12d feet, sheet aluminum, bicycles, acrylic, wire, 2011

One
Sheet aluminum, bicycle, acrylic, wire, 128w x 134h x 56d inches , 2010

Road
Sheet aluminum, 2 bicycles, acrylic, 12h x 4d x 9h feet, 2011

LESLIE THORNTON

My earliest training was at Leeds College of Fine Art (1945-48) and the basic discipline of art training was life and particularly antiques drawing. My knowledge of sculpture was exhilarated by visits to the British Museum and actually handling very early Cycladic terracotta figures, simple and direct. It was an inspiring experience I could never forget.


I continued my studies in the British Museum while at the Royal College of Art (1949-51), where I became interested in European contemporary work in sculpture and painting, in addition to the emerging English metal sculpture.


Graduating from the Royal College in 1951, I started experimenting in linear drawing using steel and iron and moving freely between figurative and non-figurative. Figures enclosed within structures or emerging from assemblances, reflect the human predicament both playful and threatening.


I did not set up abstract sculpture in opposition to figurative. A piece of sculpture should be both. Figurative to the extent that it is a represenation of space. The spaces between and around objects and settings are almost as rich as the objects themselves.


Later in my career I became attracted to volume and mass using geometry and colour in welded structures in aluminium and stainless steel.


http://www.leslie-thornton.net/

ROBERT CLATWORTHY

Robert Clatworthy studied at the West of England College of Art from 1945 to 1946, at Chelsea School of Art, London from 1947 to 1949 and at the Slade School of Fine Art, London from 1950 to 1951. He went on to teach at the Royal College of Art, London from 1960 to 1972, and at the West of England College of Art from 1967 to 1971. He was Governor of St Martin’s School of Art from 1970 to 1971, and was Head of the Department of Fine Art at the Central School of Art & Design, London from 1971 to 1975.

Clatworthy was represented by the Hanover Gallery, London during the 1950s, his first solo exhibitions being held there in 1954 and 1956. Subsequent solo shows were held at Waddington Galleries, London (1965), Basil Jacobs Fine Art, London (1972), Royal Academy of Arts, London (Diploma Galleries, 1977) and the Quinton Green Gallery, London (1986). More recently he has exhibited at Austin/Desmond Fine Art, London and at the Keith H Chapman Gallery, which represents him. Among his major public commissions are ‘Bull’ commissioned by the GLC for Roehampton, London and ‘Horseman & Eagle’, originally commissioned for 1 Finsbury Avenue and currently situated at Charing Cross Hospital, London. His work is held in many public and private collections around the world.



Robert Clatworthy RA, Head IV, bronze Clatworthy’s work has also been exhibited regularly in group shows since 1952, including ‘Modern Sculpture’ at the ICA (1955), ‘British Sculpture in the ’60s’ at the Tate Gallery, London (1965), ‘British Sculptors ’72’ at the Royal Academy of Arts, London (1972) and ‘20th Century British Sculpture’, Beaux Arts Gallery, Bath (1986).

Robert Clatworthy lives and works near Dyfed in Wales.

http://www.royalacademy.org.uk/academicians/sculptors/robert-clatworthy-ra,103,AR.html