Top Five Public Sculptures: Cardiff

Cardiff is home to over 200 public artworks, from 19th-century commemorative statues to abstract works and celebrations of local industries commissioned as part of 20th-century regeneration projects. It is not difficult to spot many public sculptures as you walk around and they enhance what is already a fascinating City.

This is my personal top five. Let us know if you have any other favourites.

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5. Nereid, by Nathan David, 1996, The Friary

In Greek mythology, the Nereids are sea nymphs which often accompany Poseidon, the god of the sea. This bronze nymph stands on a wave, above a shoal of fish, and holds a sea bird in her left hand. Nereids can be friendly and helpful to sailors fighting perilous storms, so hopefully this one will offer some protection to the sailors setting out from Cardiff harbour.

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4. Sculptures on the National Museums Wales, 1914–1915, Cathays Park

You’ll need to look up to the top of the building to see these sculptures. A number of different sculptors designed the embellishment to the National Museum, including John Thomas Clapperton, Gilbert Bayes, Richard Louis Garbe, Bertram Pegram and David Evans. Some sculptures represent industries and artistic pursuits, including shipping, mining, music and learning. The figurative groups at the front of the building represent different historical periods – prehistoric, classical, medieval and modern. The image above shows the prehistoric and classical periods, both designed by Gilbert Bayes.

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3. All Hands, by Brian Fell, 2001, Custom House Street

Installed alongside the Glamorganshire Canal, this large sculpture depicts the hands of canal workers pulling their boats along with heavy ropes. The Glamorganshire Canal used to run from Merthyr Tydfil to Cardiff Docks, transporting raw materials from the valleys into Cardiff and beyond, but it went out of use in the 1940s. Most of the canal has been filled in.

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2. Alight, by S. Mark Gubb, 2014, Mary Ann Street

A fairly new public artwork in the City Centre, this 10-metre high illuminated lightning bolt, made from painted steel and glass, was commissioned by Admiral Group, Stoford Developments and EMP Projects, and is sited outside Admiral’s offices. Alight was designed to contain movement and its sides are inset with coloured lights that scroll down from top to bottom, making it very eye-catching, especially when it gets dark.

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1. Welsh National War Memorial by Sir J. Ninian Comper, 1928, Alexandra Gardens

This striking monument commemorates the servicemen and women who died during World War I. A commemorative plaque for those who died during World War II was added in 1949.

The memorial has a circular colonnade surrounding a sunken court, at the centre of which is a group of three bronze sculptures arranged around a stone pylon. The three figures are a soldier, a sailor and an airman, each holding a wreath. Above them, on top of the structure, is a winged male nude representing Victory.

The memorial was designed by Sir Ninian Comper and sculpted by Alfred Pegram. The stone masons were William D. Gough and Messrs E. Turner & Sons. The bronze statues were cast by A. B. Burton.

If you want to find out more about Cardiff’s public art, the city council has produced a Public Art Register. Their Public Art Strategy is also available online.

Sculptures with attitude – a digital activity for young people

What do you get if you cross a public sculpture with a group of teen somethings? I suppose it could be many things, but our experience tells us you get sculptures with attitude…

We asked a group of music-mad teenagers if they were interested in public sculpture. 55% said ‘perhaps’. Could they name any sculptures? Well no, not really. But give them an iPad, Addtext and background eraser apps, and access to a bank of photographs of public sculptures, their imaginations ran wild. The results certainly made us chuckle.

As part of Culture 24’s Let’s Get Real: Young Audiences project, we at Art UK had the pleasure of working a group of teenagers who had signed up for a week long music workshop at The Hive in Shrewsbury. Curious to discover more about what teenagers think about sculpture and how creative they are with digital technology (very), we asked if they would like to join in with a lunchtime activity. We had been inspired by a little book, ‘Talking Statues’ by Julian Nieman, in which he gives captions and slogans to some of London’s public sculptures. These range from the witty, to the romantic, the slightly risqué to the downright daft; whatever the message, giving these public monuments something to say changes the way you look at them.

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Over the course of four lunchtime sessions, our group captioned dozens of images. Some participants were more active than others – some slogans seemed to trip off the tongue, others required a bit more thought.

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Some participants thought about the message – how could these sculptures voice issues that mattered? Others were quick to quip.

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The project was fun, light-hearted and greatly enjoyable. Some young people stretched themselves further and used the background eraser app to cut out their sculptures and relocate them to a Shrewsbury backdrop.

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How did this project affect me? Well, I now walk around putting words in other sculptures’ mouths. And I think our group of teenagers do too – 70% thought they would notice public sculptures more in the future as a result of the project.

60% also said that the project had increased their interest in using digital art-resources. Art UK is the nation’s online home for public collections with over 200,000 oil paintings, which will shortly be supplemented by watercolours, prints, drawings and from next year, sculpture. We aim to be a digital art resource for everyone – young and old.

80% of participants said they would like to share their results on social media. Over the coming days we will do just that, in partnership with The Hive. You can see the results on Instagram: @artukdotorg, Twitter: @artukdotorg and Facebook: Art UK. Do share your own versions with us here at Art UK.

Camilla Stewart, Art UK Commercial Partnerships Manager

Photo credits: Katey Goodwin and Camilla Stewart

Top Five Public Sculptures: Llandudno

I recently found myself with a free morning in Llandudno, a beautiful seaside town on the north Wales coast. Searching for things to do in the Tourist Information Office, I discovered that the best way to explore the town on foot is by following their Alice in Wonderland Trail. This was especially interesting as the main markers on the trail are a series of sculptures and statues. As part of Art UK’s upcoming sculpture project, it is public sculptures like these which will be catalogued and photographed, and made available for free on Art UK, giving world-wide access to public art and monuments across the UK.

The connection between Llandudno and Alice in Wonderland is through Lewis Carroll’s inspiration for Alice – Alice Liddell, whose family had a holiday home in the town. The landscape is also thought to have inspired Carroll, as some local landmarks make an appearance in the Alice books. Some of the rocks on the western shore, for example, are thought to be the Walrus and the Carpenter.

I bought a trail leaflet from the Tourist Information Centre, but the trail can also be downloaded as an app. Both cost £2.99. Following the trail around the whole town would probably take a whole day and because I didn’t have time to visit every point on the map, I chose a few sculptures that would take me around the town, along Llandudno Bay and across to the West Shore. Here are my highlights:

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  1. The White Rabbit, North Western Gardens, 2012, carved wood by Simon Hedger

Located in the middle of Llandudno, this large rabbit clasps his over-sized watch under his arm. His pose makes it looks as if he will run off any moment to his next appointment.

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  1. Alice, on the corner of Augusta Street and Vaughan Street, 2012, carved wood by Simon Hedger

Alice herself is depicted in a larger than life statue in front of a small door, having just consumed the ‘Eat Me’ cake.

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  1. The Mad Hatter, Promenade, North Shore, 2012, carved wood by Simon Hedger

The Mad Hatter sits on the sea-front holding a teapot, with the dormouse by his side. This was a popular attraction on the sunny spring morning I was in Llandudno and I had to queue up to take a photograph.

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  1. The Queen of Hearts, Gloddaeth Street, 2012, carved wood by Simon Hedger

This imposing statue of the Queen of Hearts depicts her in the middle of shouting ‘Off with her head!’

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  1. The Cheshire Cat, Gloddaeth Avenue, 2012, carved wood by Simon Hedger

This lovely, big ginger cat has a grin so large it takes up most of his face.

All of these sculptures were made by Simon Hedger, who was commissioned to create this series of characters by Llandudno Council to commemorate the 160th anniversary of Alice Liddell’s birth. They were all carved from a giant oak tree sourced in Bedfordshire.

There are many more sculptures to explore around the town, including a whole park of Alice-related sculptures in Happy Valley commissioned in 2000 as part of a National Lottery refurbishment programme. Unrelated to Alice in Wonderland, I am going to squeeze in one last sculpture – this Kashmir goat which sits on top of the Great Orme at the edge of the town.

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Sculpted by Graham High, the goat was installed in 2002 at the opening of the refurbished visitor centre. It’s worth pretending to be a mountain goat and climb to the top of the Great Orme, as on the day I was there it was so clear you could see across to the Isle of Man.

All images by Katey Goodwin.

Elisabeth Frink sculptures inspire an arts project at RAF Cosford

As part of our forthcoming sculpture project, we will be looking at ways to use sculpture as part of fun, informative learning activities for young people. It’s always great to hear from organisations that are already working with sculpture as part of their education programme, as their work can help inspire out future plans.

One of Art UK’s Founder Partners, the Royal Air Force Museum at Cosford, Shropshire, are embarking on an arts-led project, with some help from a group of local school children, inspired by the work of British sculptor Dame Elisabeth Frink. For the duration of the project, two Elisabeth Frink sculptures from the museum’s collection will be displayed together at Cosford for the very first time and will inspire youngsters to create their own masterpiece.

The team at the RAF Museum Cosford tells us: ‘The RAF Museum’s sculpture project aims to engage younger visitors with more unusual artefacts from their collection. The larger bronze sculpture is normally held in storage at the RAF Museum’s London site, but has been brought to Cosford especially for this project. The two examples of winged figures sculpted during the 1960s, both resemble a man’s legs morphing into a bird, representative of her work during that period. Some of her most famous work includes the ‘Walking Madonna’ at Salisbury Cathedral, ‘Risen Christ’ at Liverpool Cathedral and ‘The War Horse’ at Chatsworth.Elisabeth_Frink_Sculptures_RAFMuseumCosford

Frink was one of the most influential female sculptures of the 20th century, creating art from the 1950s up until her death in 1993. She was most notable for her bronze sculptures which varied in scale and feeling, but always fell into five main themes: war and flight, beasts, religion, heads and man. By far her greatest obsession was with mankind and she was deeply critical of the male psyche, man’s inhumanity to man and refused to indulge in the glorification of war. She broke boundaries, exploring new territories and was always moving forward experimenting with new approaches in response to what was happening in the world around her.

On 1 March this year, a group of pupils from Regency House School in Worcester began the first stage of the sculpture project being led by the Access and Learning team at the RAF Museum Cosford. The participating pupils, studying art GCSE, visited the museum and took part in a sculpture workshop, run by Marie Cooper from Wolverhampton Art Gallery. During the workshop children studied the Elisabeth Frink sculptures on display, before using an easy to mould wax and bronze paint to experiment with their own ideas, inspired by Frink’s work.

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Two schools are taking part in this exciting new project and in April, students from Abraham Darby Academy in Telford will also take part in the sculpture workshop. After getting their sculptures underway at the museum, pupils from both schools will continue their work back in the classroom, using other materials including mod-roc, clay and wire frames, to build a sizeable sculpture of their own, building on the knowledge they have gained during the workshop. Whilst the hands-on work is underway in the classroom, students are encouraged to carry out further research into the topic and look into the life experiences that inspired Frink’s work. RAF Museum Cosford Education Assistant Lisa Fawcett said that “working with the Frink sculptures from the collection has been a real privilege. The students offered their personal responses to works that can be challenging to interpret and have made this project a real success.”

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During the summer term, the students will be invited back to the RAF Museum for a special unveiling event, where their completed sculptures will go on display alongside those of Elisabeth Frink. The student’s sculptures will be displayed in the museum’s Visitor Centre throughout the summer and will be enjoyed by thousands of visitors.

The project has been made possible thanks to the support of the Wrekin Decorative and Fine Arts Society (Wrekin DFAS), a charity dedicated to promoting interest and understanding in the arts for all ages. Later this year Wrekin DFAS will sponsor a lecture on Frink by an expert on the subject, which will be open to participating students and interested members of the public. Keep an eye on the museum’s website for details.’

For further information about the museum, please visit www.rafmuseum.org/cosford or call 01902 376200. The museum is open daily from 10am and entry to the museum is FREE of charge. Royal Air Force Museum Cosford, Shifnal, Shropshire, TF11 8UP.

All images: ©Trustees of the Royal Air Force Museum

 

Antony Gormley’s ‘A View, A Place’ – where is it now? We now know!

Historic England’s exhibition, ‘Out There: Our Post-War Public Art’, which has just opened at Somerset House, London, highlights the fates and fortunes of sculptures and reliefs created and installed across the country over the last 70 years. Whilst some have been saved, celebrated and are widely loved, many pieces of our public art have been lost, damaged, moved or destroyed.

To prepare for the exhibition, Historic England put out an appeal for information on missing or unidentified works, and received a much greater response than they anticipated. With the help of organisations such as the Public Monuments and Sculpture Association (partners in our Your Sculpture project) Historic England has tracked down works that had previously been thought to be lost forever.

I was recently told about a missing sculpture last seen in Stoke-on-Trent in the 1980s. Antony Gormley’s sculpture ‘A View, A Place’ was one of a number of art works sited at the Stoke-on-Trent National Garden Festival, which was held in the city from 1 May to 26 October 1986. ‘A View, A Place’, a life-sized lead, fibreglass and plaster statue, was positioned at the Festival’s highest point looking out over the Fowlea Valley, next an OS trigonometry marker-stone.Gormley_Sheffimage

In the following image you can just see the statue on top of the hill, provoking interest from visitors to the Garden Festival. Other sculptures can be seen in the pond in the foreground.

Gormley at The National Garden Festival 1986 . A View A Place

Apparently, after the festival had closed, the statue was removed from its position, but its current whereabouts are unknown. There is no mention of the sculpture on Antony Gormley’s website. The site is now completely enclosed by woodland, although the OS marker stills remains.

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Update (9 September 2016): I am very happy to say that I have been contacted by Vivien Lovell who was the Sculpture Co-ordinator for the Stoke-on-Trent National Garden Festival in 1986 and commissioned the Antony Gormley ‘A View, a Place’ amongst many other artworks. Vivien reports that the sculpture ‘was damaged towards the end of the Festival and returned to Antony when the Festival ended. The hollow eyes of the lead sculpture had become distended by people poking their fingers into the work. I photographed the damage and sent slides to Antony and he and I agreed that the sculpture should be de-installed and returned to him at his studio. … The work in question by Antony Gormley was not a purchase commission for permanent installation: the artist was paid a facility fee to create the work as a temporary piece on the basis that it was returned to him after the Festival.’ Antony Gormley has confirmed with Vivien that the sculpture was returned to him at the time and is still in his storage.

Many thanks to Vivien for this most useful update.

Some of the other artworks from the National Garden Festival still exist and have been re-sited around the City:

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Her Head, 1986, by Dhruva Mistry, now installed in Hanley, Stoke-on-Trent. Commissioned for the National Garden Festival in 1986 with funds from the Henry Moore Foundation, then donated to the City of Stoke-on-Trent in 1987.

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Capo, 1986, by Vincent Woropay, now installed in Etruria, Stoke-on-Trent. This colossal brick head of Josiah Wedgwood was in storage for many years before being repositioned in 2009. It is now sited by Etruria Hall, previously the home of Josiah Wedgwood and close to the location of his 1769 pottery factory. Etruria Hall (which can be seen in the background) is now part of a hotel.

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Tree Thought, 1986, Denise de Cordova, now installed in the Secret Garden at The Potteries Museum & Art Gallery, Stoke-on-Trent. Made from Ancaster Stone, a Jurassic oolitic limestone, about 170 million years old, from Lincolnshire.

Image credits, from top to bottom:

By SleafordSue (via English Wikipedia) – Uploaded at English Wikipedia, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=9741722

Image taken by Dave Ball, 1986. ©Sheffield Hallam University http://public-art.shu.ac.uk/other/0000008b.htm

Image taken by ©Terry Woolliscroft, 1986, and reproduced with kind permission of the copyright holder

Image taken by ©Glen Stoker, 2012. http://glenstoker.co.uk/index.php/work/once

Images of Her Head, Capo and Tree Thought by Katey Goodwin, 2015.

 

Call for papers: Émigré Sculptors Conference 2016

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The Public Monuments and Sculpture Association (PMSA) and 3rd Dimension, in collaboration with the City and Guilds of London Art School, will be presenting a two-day conference in London on 26 and 27 May 2016, looking at the ways émigré sculptors working in Britain between 1540 and the present day have contributed to the development of British sculpture.

The conference has a broad remit, and the organisers are interested in hearing from scholars exploring a wide range of themes relating to the experience, reception and artistic activity of émigré sculptors who came to Britain during this period. While this includes those who were forced to leave their home countries due to political, social or religious pressures, such as refugees fleeing Nazi persecution in the 1930s, we are also interested in papers on artists who chose freely to migrate to Britain, whether permanently or temporarily.

Closing date for proposals for papers: 1 February 2016.

Please visit the 3rd Dimension website for further details, http://3rd-dimensionpmsa.org.uk/emigre-sculptors-conference-2016/

Image credit: ‘Alfred Wolmark’, 1913, by Henri Gaudier-Brezeska, York Art Gallery, YORAG:876. Photograph by Colin White on behalf of the Public Catalogue Foundation, 2015.

Help find missing public art

You may have seen this is in the news this week, but Historic England’s initiative to locate missing post-war public art and sculptures is worth repeating.

One of the organisations which has contributed to the research is the Public Monuments and Sculpture Associations (PMSA), a major partner in the Your Sculpture project. One of the outcomes of Your Sculpture is to identify sculptures at risk and we hope to be able to contribute to Historic England’s initiative by creating a thorough visual catalogue of all public sculpture in England (and beyond).

The following is from Historic England’s press release:

‘Historic England has warned that England’s post-war public art, created by some of the most important artists of the twentieth century, is “disappearing before the public’s eyes”. It has revealed that a growing number of sculptures, architectural friezes and murals – made between the Second World War and the mid-1980s – have been destroyed, sold, lost or stolen. Through its own research, and information from the Twentieth Century Society, the Public Monuments and Sculpture Association, historians and some of the artists themselves, the government body is building up a picture of just how much art has disappeared. It says England has lost a worrying amount of artwork from the streets, housing estates, work places, shopping centres and schools for which the pieces were designed. Although many of the works have been destroyed completely, some could still be out there. Historic England is issuing a call for information, evidence and photographs from the public to help track them down and inform a major exhibition at Somerset House in London, as part of its Utopia Season.

From a bronze Henry Moore sculpture stolen to order for its scrap value, to an abstract sculpture by Barry Flanagan in Cambridge that was vandalised beyond repair, or the seven metre long steel structure by Bryan Kneale that was sold at auction last year, these public artworks are vulnerable and need protecting. In 2012 Wakefield Council went as far as to remove its Henry Moore from public display and put it in secure storage because of the spate of thefts. Often, the artists themselves don’t know their works are in danger until it’s too late. The public is rarely consulted on what should happen next. Since they were installed from the early 1950s onwards, works have been vandalised, destroyed, sold and stolen. The price of scrap metal, the need for many public bodies to fill funding gaps, pressure from redevelopment, and vandalism, are all reasons why this national collection of public art is being eroded.

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Historic England (previously known as English Heritage) is currently identifying the Post-War public art that could be protected through listing. It’s also running an exhibition at Somerset House, “Out There: Our Post-War Public Art” from 3rd February to 10th April 2016, to help people to learn about this national collection and the stories behind it, so they will recognise the importance of these works. The organisation wants to strengthen the public’s sense of ownership of its own collection, making it harder for it be stolen or destroyed.

Historic England has compiled a list of works that have been lost, sold, stolen or destroyed which can be found www.historicengland.org.uk/missingpublicart .

If anyone knows anything about the fate of these works, or other Post-War works not mentioned here, they can get in touch by emailing OutThere@historicengland.org.uk or calling 0207 973 3250. The organisation is also asking for any pictures of the missing pieces that have been taken over the years by members of the public. It’s hoped any further details can become part of the “Out There” exhibition, and the stories behind the disappearance of these works of art can be told.’

Featured image at top: The Watchers, Lynn Chadwick, 1960, Roehampton University, South West London © Historic England. STOLEN – In 2006 thieves stole one of the three figures that make up the Grade II listed piece called “The Watchers”. The sculpture sits in the grounds of Roehampton University and the two meter high figure was sawn off at the legs. Police estimate it would have taken at least eight people to carry the art work away. Despite investigations, no one knows what has happened to the sawn off figure.

Second image: The Pineapple, William Mitchell, 1977, Basildon, Essex © Historic England. LOST – Affectionately named “The Pineapple” by Basildon residents, the sculptural fountain was commissioned by the Ford Motor Company. The work was outside the front of Trafford House, the firm’s newly acquired premises in Cherrydown East, Basildon. It only came to light the piece had gone missing in 2014 but it was last seen in 2011 when Colonnade, the owner and redeveloper of Trafford House, moved it into storage as it planned to turn the building into housing. Colonnade reported it missing in 2012. Made of Corten metal, a kind of weathering steel, each triangle was hand cut and painstakingly dipped in water to achieve the rusted red colour Mitchell wanted. The artist estimated it would cost around £0.5 million to recreate the work today.

 

Top Five Public Sculptures: Frieze Sculpture Park, London

Public Catalogue Foundation Volunteer Viccy Ibbett gives us an account of her favourite sculptures from Frieze Art Fair, which recently took place in central London:

‘Frieze Art Fair is over for another year. Regent’s Park has reverted back from a hectic foundry of art sales to the idyllic landscape venerated by artists such as Adrian Berg. In short: the famously bolshy squirrels are again the masters of the lawns.

But part of the Fair has been left behind. The Frieze sculpture park is to remain in situ in Regent’s Park’s English Garden until January 10th. Clare Lilley, the director of Yorkshire Sculpture Park, selected the sculptures, which span a millennia of sculptural history and incorporate monoliths, architectural works and audio-visual pieces. Although these works are impermanent – they will be sold or removed at the end of January; many of the sculptors have created other works that are permanently sited in public spaces across the UK. The works in Regent’s Park also attest the broad range of styles, techniques and purposes that go into the formation of “sculpture”, that monumentally broad category of art that PCF aims to document over the next few years.

The Dappled Light of the Sun, 2015, Conrad Shawcross (see image at the top of post)

Regents Park in the Autumn would probably make any sculpture sing. There’s something about the way the light cuts through the damp November air, amplifying the reds and yellows of the tree canopies, and the verdant lawns. But Shawcross’ The Dappled Light of the Sun seems particularly suited to this setting. The bronze sculpture is constructed out of multiple tetrahedrons welded together into an organic whole. In an interview with Wallpaper magazine, Shawcross described the tetrahedron as “an awkward building block. If you build with them they radiate out and bifurcate, like the branches of a tree.” Placed amid the vivid foliage of the park, The Dappled Light of the Sun looks utterly at home.

Shawcross, who is the youngest member of the Royal Academy, is no stranger to public art commissions. Earlier this year the sculptor unveiled Three Perpetual Chords in Dulwich Park. The three cast irons sculptures are an homage to Barbara Hepworth who’s Two Forms (Divided Circle) was stolen from Dulwich Park in 2011. The Dappled Light of the Sun was put forward for inclusion in the Frieze Sculpture Park by the Victoria Miro gallery.

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Open Screen, 2014, Carol Bove

Bove’s Open Screen is a playful imposition into the landscape of Regent’s Park. The architectural sculpture is constructed out of steel that is welded into three rectangles. The transparent form plays with the gaze of the viewer, inviting her to look through it, rather than at it, and to appreciate the picturesque way in which it frames the vistas of the park around it. Much like the permanently installed ‘selfie frames’ that have sprung up in cities and resorts around Europe, Bove’s sculpture is self-effacing but effective at renewing the viewer’s outlook on the space around them.

Open Screen was offered for inclusion in the Frieze Sculpture Park by David Zwirner gallery.

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Large Female Figure, 1991, William Turnball

Large Female Figure is a sea-blue, paper-thin slice of anthropomorphic bronze. From a distance the figure’s womanly outline is crisply delineated. Up close it is possible to see the mesmerising details of the sculpture’s surface. The patina has a complex blend of blues and greens, and the figure is incised with minute holes indicating nipples and jewellery. The figure’s serenity and its extraordinary height recall so-called ‘primitive’ art, which inspired other modernists such as Giacometti, famous for his poised Venetian women.

This figure dates from Turnball’s mature period, when he left behind the stainless steel tubular sculptures that had helped to establish his name, in order to return to his earlier passion for ‘primitive’ art. Early in his career, shortly after attending the Slade alongside the sculptor Eduardo Paolozzi, Turnball had been selected by Herbert Read to exhibit his ‘primitive’ sculptures at the Venice Biennale. He exhibited alongside other artists whose preoccupation in common was described by Read as “the geometry of fear”.

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Anthropomorphic Monolith, Pre-Ekoi sculpture, estimated 11th to 14th century

Anthropomorphic Monolith is just as its title indicates: an ovoid chunk of smooth rock roughly carved with the features of a man. These monoliths are something of a mystery to art historians, historians, anthropologists, and anyone else who has looked with an outsider’s eye at the history of West African art work. What is clear is that the rocks were originally dredged up from river beds, where the slow action of the water smoothed them into their current shape. The rocks were carved with the features of men and propped up near villages. However, their exact significance to the carvers or to the people who lived near them is an enigma.

The curator, Lilley, has placed Anthropomorphic Monolith near to Turnball’s Large Female Figure, to draw attention to the relationship between the two traditions of creating. Anthropomorphic Monolith was nominated for inclusion in the Sculpture Park by Didier Claes, a Belgian gallery that took a stall at Frieze Masters for the first time this year.

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Standing Stones (Solar Symphony 8), 2015, Haroon Mirza with Mattia Bosco

Standing Stones (Solar Symphony 8) are rocks that translate sunlight into sound and LED lighting. Sunlight, apparently, sounds uncannily like a mournful blast on a clarinet; a note so low that it’s unclear where the source is. The clue is the large solar panel attached to the larger of the two rocks that constitute Standing Stones (Solar Symphony 8). On a closer inspection, it is possible to see tiny flashes of red and blue LED lights embedded in narrow seams in the rock. According to the artist, Haroon Mirza, the LED lights and the intermittent groans of sound directly correlate to the pattern of sunlight falling on the solar panel. But of course, it is impossible to know for sure.

Mirza’s Standing Stones (Solar Symphony 8) challenges traditional notions of sculpture as a static, purely visual or tactile medium. By incorporating sound into the sculpture, Mirza demands that viewers engage with the sculpture aurally as well as visually. Also, by integrating a solar panel and circuitry, which translate the changing intensity of the sunlight into sound and light, Mirza has created a constantly contemporary sculpture that actively responds to its environment. It is interesting to consider how the PCF should approach a sculpture like this in our cataloguing project, or even whether ‘audio-visual’ work like this should be included in the PCF’s definition of ‘sculpture’ at all.’

Top Five Public Sculptures: Cambridge

Viccy Ibbett, Volunteer with the Public Catalogue Foundation, has been out and about in Cambridge and has chosen her favourite five sculptures in this historic city:

‘A few years ago the Fitzwilliam Museum, home to a superb collection of paintings, sculptures and artefacts, became the first collection to sign up to the Public Catalogue Foundation’s Your Paintings project. Today, Cambridge boasts an art collection that pays due testament to its long and illustrious history: since its founding, it has been a cultural and economic centre for Bronze Age farmers, Romans, Vikings, universities and more recently a burgeoning tech industry. Museums such as the Fitzwilliam and Kettle’s Yard are just the beginning. Most of the university’s 31 colleges have collections of paintings and sculptures, managed and shaped by the predilections of a host of curators. Amongst the list of alumnae and honorary fellows are some of the top names in the art world.

I visited Cambridge to discover some of the sculpture the Your Sculpture project is likely to document over the next few years. On the earth and beneath its crust, these outdoor sculptures testify to Cambridge’s history as an international nucleus of human development.GormleyEarthbound: Plant, 2002, Antony Gormley, the Downing Site

When the laboratories close and the graduates, researchers and fellows have shut down their experiments and joined the throng of humanity exiting the science park under the usual dusting of October rain, one set of footprints is destined not to fade away, nor ever to wander from its spot on an innocuous paving slab near the front gates. Blink and you’ll miss it, but retrace your steps; Antony Gormley’s upside down sculpture, totally immersed in the earth apart from the soles of its feet, isn’t going anywhere.

Gormley asserted that with Earthbound: Plant he intended ‘to remove the body from visual perception and replace it within the body of the earth’. The desire to bury himself (his sculptures are based on his own form) in the earth, attests to Gormley’s early amalgamation of art with archaeology, and also to his tie with Cambridge: between ’68 and ’71 Gormley studied Archaeology, Anthropology and History of Art at Trinity College, Cambridge, where he is now an honorary fellow.Paolozzi2. Daedalus on Wheels, 1994, Eduardo Paolozzi, at Jesus College

Paolozzi was a sculptor who, more than any other, gave us images of humanity in the age of machines. His subject, Daedalus, was a capricious virtuoso artist who designed a maze so brilliant he trapped himself, who created mechanical wings long before Leonardo and flew to freedom across a sea, who (according to Ovidian myth) ‘put his mind to techniques unexplored before and altered the course of nature’. Paolozzi’s bronze sculpture of the legendary artist is comprised of cogs, girders and fleshy lips and hands. The figure is tortured: part-human, part machine, his limbs and torso enhanced or impaired by mechanical additions. He stands on a wheeled platform, a gesture that at once mocks the subject’s desire to fly, and signifies his making of himself into an art object, worked upon and augmented until it is not clear whether he is man, machine, or art-work.

Daedalus on Wheels is just one of the artworks in Cambridge that testify to Paolozzi’s long-standing relationship with Jesus College, where he was an honorary fellow. Students of the college benefit from a library crammed with Paolozzi’s prints and another of his sculptures, the famous Newton After Blake, inspired by William Blake’s paintings.Wei-shan3. Confucius, 2006, Wu Wei-shan, at Clare College

Wu Wei-shan’s Confucius seems to partially emerge from the hewn off hulk of bronze in which he is embedded. His face and robe are idiosyncratic, reminiscent of popular sketches of the Chinese philosopher diplomat executed in the years after his death. His torso is vague, roughly coagulated around two vertical struts of metal. The effect is of an ancient representation that has only been partially recovered; an impression heighted by the sculpture’s site in Clare college, pressed into low-hanging trees and shrubbery by the side of a dirt path so that the figure seems to be emerging from or receding into a pre-modern woodland grotto.

The sculptor, Wu Wei-Shan, is the first Chinese artist to become a member of the Royal Society of British Sculptors. Confucius honours another landmark: Nathaniel Vincent, a fellow of Clare College and member of the Royal Society, was the first to translate any of Confucius’ work into English.Moore4. Fallen Warrior, 1956-1957, Henry Moore, at Clare College

Henry Moore described his sculpture as depicting “the dramatic moment that precedes death”. The subject is caught the second before he hits the ground, but there is little that is heroic about it. The figure is voluminous and liquid; its patina is blue-green and stained with dark lichen so that it looks like the surface of the sea. The sculpture looks as though its fall would end with a splash rather than a crash. Yet this pitiable figure is crowned, halo-like, by its shield.

Moore lived through two world wars and fought in one. Although he volunteered to fight in the First World War, soon after the end of the war Moore became disillusioned with combat. During the Second World War, Moore famously sketched people sheltering beneath ground during air raids. Fallen Warrior was cast a decade later and perhaps bears some marks of Moore’s distaste for war.Herring5. Mortal Man, 1960, Evelyn Herring, at Jesus College

Evelyn Herring’s Mortal Man is sited beneath the canopy of a venerable tree whose leafy, autumn-stained limbs scrape the ground in a wide circle around its trunk, forming a private, high ceilinged space invisible from the nearby path through Jesus College. The bronze figure is hunched and inward focused: it turns its back on its situation and on spectators. The sculpture is intensely melancholy; its setting in the intimate but natural space beneath a tree feels necessary.

The sculptor is as hard to discover or trace as her work. Evelyn Herring – to my knowledge – is a phantasmagorical figure whose only obviously documented work seems to be this sculpture. This work strikes me as the exact reason why the Your Sculpture project will be so exciting, as it will throw works such as this into the public eye and will perhaps draw new stories out of the woodwork. Personally, I hope to learn more about Herring in the months and years to come.’

‘The Arrivall’, Tewkesbury

We are happy to have been contacted by a few professional sculptors who are enthusiastic about the Your Sculpture project and have been following progress of the development phase via this blog. Two of those sculptors, Diane Gorvin and Phil Bews, work together to make sculpture for the public realm. Based in the Forest of Dean, their sculptures can be seen in many locations across the UK, including Belfast, Bristol, London and Cardiff, as well as overseas.

They have made a film about the making of one of their recent works, The Arrivall’, which is in the running for a CODAvideo Award for the People’s Vote for the best video about commissioned art.The Arrivall_3Commissioned by Tewkesbury Battlefield Society, The Arrivall, is sited on Stonehills Roundabout, Tewkesbury, and marks the site of the battle in 1471 during the Wars of the Roses between the Yorkists and Lancastrians. The title, ‘Arrivall’, is taken from the 1471 account of the recovery of Henry VI’s English throne by Edward IV. The Arrivall_2The work consists of two horses; one with a rider to represent the victorious Yorkists and the other a vanquished Lancastrian horse. Both sculptures are constructed from English Oak. The horses are 5m tall; 5.5m to the top of the knight. The pennants are made from aluminium alloy and are on 8m high poles. The pennants are designed to rotate in the wind.

The film about The Arrivall can be viewed here.

Another film in the competition shows how The Kelpies in Falkirk (below) were made.2015-05-04 15.49.53To view all of the films in the competition and vote for your favourite, visit the CODAvideo website. The films about The Arrivall and The Kelpies are about half way down. Voting closes on 29 October.

Images of The Arrivall by Diane Gorvin and Philip Bews. Image of The Kelpies by Anthony McIntosh.