Anna Adler (Field V)
Ceramic & Mixed Media
Lost Landscape alerts us to the existence of creatures once native to the New York area, now extinct, extirpated, or endangered. In this slightly bizarre, fictionalized tableau we can see a glimpse of a landscape from another time and contemplate the
changes in our fragile ecosystem. Unfortunately, humans are most often at the root of its destruction.
“All that lives beneath Earth’s fragile canopy is, in some elemental fashion, related. Is born, moves, feeds, reproduces, dies. Tiger and turtle dove; each tiny flower and homely frog; the running child, father to the man
and, in ways as yet unknown, brother to the
salamander. If mankind continues to
allow whole species to perish, when does their peril
also become ours?” --- World Wildlife Fund.
Carolina Parakeet, Conuropsis carolinensis
American Burying Beetle, Nicrophorus americanus
STATUS: Endangered, extirpated in New York area
Karner Blue Butterfly, Lycaeides melissa samuelis
Elizabeth Barksdale (Field I)
Plywood & PVC
8' x 25' x 25'
Paint Tag is named for my experiences making this sculpture with
my children and their friends. I created the original design sketching
sculpture ideas with my kids. When it came time to build, two
of their friends came to help. All of the children helped cut panels
with a jig saw. For each, it was their first experience using the tool
and it was very exciting for them.
My daughter, Raven, and her friend Ruby, both 9 years old,
designed and painted several of the panels. My son, Davin, 7 years
old, painted several panels. Alex, Ruby’s brother, 12 years old,
chose to spend his time exclusively with the jig saw. Prudent perhaps,
because in the end, the younger children descended from
concentrating on organized painting into messy childish bliss, a
change brought on when my son stood up and suddenly declared
“Paint Tag!” As you can well imagine, paint madness ensued.
John Belardo (Field II)
Laser cut steel, wood
65” x 50” x 50”
Ben Birillo (Field I)
6' x 6' x 4'
John BonSignore (Field II)
Blue stone and steel
3’ x 4’ x 1.6”
The design of my sculpture begins with a broad concept: a place,
person, animal, or emotion. After paring away the inconsequential
details, what remains is the unique core of my subject. The unprocessed
forms of stone are my primary medium; like the ideas I
am interpreting, they are clean and uncomplicated.
The process is the same throughout my work: to capture that
singular core that makes any place, feeling or living thing what it
is. My sculptures become the physical representations of the essence
of the subject.
Cindy Booth and Jeanne Egel (Field III)
10' x 5 1/2' x 20'
We are approaching the idea of public art with the idea
that cattle and steed are our public. These sculptures
have the primary residence of Saunders Fields in mind.
They are meant to be touched, caressed, pushed, and
walked into and used as scratching posts (for cows and
horses). Materials for these pieces are recycled brushes
from street sweepers.
Although mechanical in their former life, these sculptures
have whimsy and lightness as their foundation,
as well as the idea of behavioral enrichment for any
bovine that may interact with them.
Jo-Ann Brody (Field V)
Cycladic Take, Fossilcrete, 59" x 16" x 12"
Contemporary Take, Fossilcrete, clay, 73" x 16" x 12"
The conflation of creativity/fertility makes new sense with the
inner figures in my current work. My newest granddaughter
was just born this July. The inner/outer surfaces reflect my
background in clay. They are birth to fully formed creatures:
not holding or embracing but containing them. Are they fully
fledged or broken fragments taking shelter?
The child is the father of the man; the muse the mother of new
The formal elements include the stark contrast of creamy white
and black, the relationship between inside and outside, the
rhythm of the figures inside.
Working in cement is a slow regular pattern of mixing, applying,
and evaluating that creates an atmosphere of contemplation:
who I am, what I’ve accomplished in my life, and where I still
can go. And then suddenly the piece speaks to me—telling me
where it wants to go. The farm gives me a chance to experiment
that I get nowhere else.
Susan Buroker (Field II)
Altered Earth, Synthetic nitrogen farming; the consequential machine
Metal and wood
10' x 6' x 4'
Altered Earth was inspired by the struggle to feed the growing
population of the world in the late nineteenth century. This led
to the introduction of synthetic nitrogen farming to increase crop
yield. Over half of our population today is fed with the dependency
on nitrogen fertilizer. Nitrogen fertilizer not absorbed by
crops travels through water, soil, and air leading to contamination
affecting our environment and human health.
Altered Earth represents the struggle with the imbalance of feeding
the world and protecting our fragile ecosystem. The metal
disks represent the nitrogen, symbolizing the contrast between
the organic earth and the chemical that erodes it.
Jodi Carlson (Field I)
Life Is Too Short To Be Little
7' (w) x 6' (d) x 13' (h)
“Life is too short to be little,” Benjamin Disraeli wrote. He continued with the sentiment that people are never so human as when they feel deeply, act boldly, and express themselves with frankness and with fervor. I will never forget how I felt on my first day of welding a metal sculpture--like my heart had opened up. Creating sculptures gave me a vehicle to act boldly and express myself with fervor. I am so grateful.
This sculpture uses a 300 gallon oil tank flipped onto its side as a vase for a bouquet of flowers. Lilies were created using expanded aluminum and aluminum diamond plate--materials more often used in commercial applications. And colorful, randomly curled elements were added, like garnish. Inside the oil tank is a 3-layer grid which allows stem-like tubes to be arranged, like flowers, in a myriad of arrangements.
Be inspired to “go big,” and act boldly. It’s worth the effort.
Storm King School, Student Work; John Carruthers (Field III)
61" x 50"
The Storm King School (SKS) is a small boarding school in Cornwall-on-Hudson, emphasizing real world experiences, experiential
education, and community involvement. This collaboration could not have been a more perfect fit for those goals.
Spinning Profile is an outline of a human face seen from 2 angles, forming a 3-D sculpture. It appears that the head is spinning and
looking everywhere. It is a metaphor for what students do during their time at SKS.
Spinning Profile was built by students after they created maquettes.
The winning design was by Victoria Bobrova, a 9th grader.
Dr. Nicole Shea of the Eisenhower Leadership Center
contacted Storm King School about collaboraing on a
community project. As the Co-Chair of the Art
Department, John Carruthers thought the Farm Project
would be a natural. The students visited the Polich-Tallix
foundry in Rock Tavern, NY, and all had all been to the
Storm King Sculpture Park, so they were excited about
the possibility of building a larger piece for an open-air,
“sculpture park-like” exhibit.
Diana Carulli (Field IV)
Attachment 3 (TO Attachment)
1Approx 11’ x 22’ x 4’
Rusted Steel, Almaloy and Galvanized Wire
Steven Ceraso (Field III)
Wing Bench Form
Wood and Steel
2' x 14' x 1'
Ada Cruz (Field V)
Clay and mixed media
24" x 12" x 8" (approximation)
In folklore and in traditions of shamanic practice, a Seer sees the
past, the present and, perhaps, the future. Often, a Seer is considered
to be a person whose actions, attitudes and comportment
are outside what may be considered “Normal” behavior, or rather,
“deviant,” foreign or “alien.” This sculpture holds a mirror at eye
level for the viewer to reflect on. Who is the Seer?
It is my ninth year participating with Collaborative Concepts at
Saunders Farm, and my fifth year putting together a small installation
at the Farm’s “megalith.” As I reflect on the origin of this
piece–exhibited first at “Deviants, Perverts, Aliens and Feminazis,”
a collaborative the Ceres Gallery members and Vistas Latinas that
confronted the absurdity of the terms given women and, in our
case, artists by people like Rush Limbaugh–it seemed appropriate,
indeed, site specific, to hang Seer as a necklace for the ancient
Augie DellaVecchia (Field III)
Art for Arthur's Sake
Golf clubs, metal screen, paint
6' x 4' x 1'
Florencia Escudero (Field I)
Rope, wood, glitter, plastic
120" x 57” x 3"
I hope to create surfaces and moments for the investigation
of perception and the ever-changing physicality of material
in the world. I take into account light, color, touch,
and the impossible task of holding onto the moment. My
most recent work has focused on the production of
flexible, portable objects such as hammocks. The
hammock pieces are a combination of plastic and when
they are displayed they can take on the qualities of stained
glass creating the illusion
of the reflection of water.
Carol Flaitz (Field IV)
Your Soul is Not in Your Shoes
PVC piping, polymer clay, polymer resin
10' x 8" x 4"
The concept of this piece is a visceral humorous portrayal regarding
the absurdities that fashion dictates for young women to the
point that they are willing to damage their bodies. I have observed
over the years the pain that women endure and the consequent
damage to their feet, ankles, and spine through wearing
4-6 inch heels for hours and days on end. The purpose is to shift
the way that the female walks, and at the lengthening of her legs
to portray elegance and sexuality. Unfortunately, the result is a
woman who cannot walk quickly, who often is in pain, and, if this
continues for years, foot, ankle and spine damage result.
Furthermore, Barbie as a physical ideal given to little girls
enforces this concept. She needs a stand to stand!!! My
message is for my daughters and the next generation of
Denis Folz (Field III)
The Last Piece of Wood
Steel and Wood
7' x 7' x 4'
C. Robert Friedman (Field V)
Clay, natural wood fire glaze and commercial glazes
Art provides both the viewer and the artist with new ways of
seeing themselves and the world around them. The medium I use
to express this is clay. In my relationship with it, I continually seek
to integrate the four basic elements of life (earth, fire, water, and
air) and blend them into compositions of human attitudes and
emotions. Frequently ambiguous in form, androgynous in
character, yet easily accessible, each piece I create is meant to
draw the viewer into an intimate and involving relationship.
Barbara Galazzo and intern, Colby Meagle (Field V)
Mixed media mosaics
3 1./2' x 3' x 1'
These mosaic crystals are what I imagine to be lying under Saunders Farm’s
Researchers at the University of Southampton announced that they are able to
store and retrieve huge amounts of five-dimensional data on quartz crystals.
They have named it “Superman memory crystal” – after the “memory crystals”
used as storing devices in the Superman films. They claim that
using ultra-fast lasers, we can now encode a piece of quartz
with 5D information in the form of nano-structured dots
separated by only one-millionth of a meter. If true, then the
storage allows unprecedented parameters including 360 TB/
disc data capacity, thermal stability up to 1000°C ,and
practically unlimited lifetime.
Now, this wonderful discovery that enables us to store huge
amount of data that can be retrieved even after millions of
years, makes us think about the possibility of our ancestors
doing the same, hoping we would retrieve it someday.
Ruth Hardinger (Field I)
Continuous Draw #8, Sequester
Rope, concrete and cardboard
approx 35' x 30' x 40'
A volumetric space, outlined by ropes, is in the farm where trees,
wildflowers, plants, birds, insects, and more species live.
Continuous Draw #8, Sequester, is in this region of trees that
sequester carbon. Anchored in opposite sides of the triangle, the
concrete rings, centered between the tree-trunks’ V-shaped spread,
are likened to rings of worry beads or markers of time. A large
strand of rope holding cardboard boxes marks the entrance. During
the exhibition’s time frame, the
cardboard box gate will deform
and modify by nature’s processes
including rain, wind, sun, and cold.
This installation could be called a
short-lived forcing of change, which
echoes my concerns about the
speed of what is happening as our
Sarah Haviland (Field III)
Reinforced Forton MG cement
51” x 48” x 48”
I am fascinated by human-bird hybrids, expressive personas existing
in a parallel world to our own. Hirondelle is the newest in a
family of bird-figures, this one resembling a blue, red-breasted
swallow ready to take wing. These sculptures are inspired by the
long history of mythological figures relating to the
soul, found in images and tales from cultures worldwide.
Along with large cement and resin sculptures
like Hirondelle, based on specific portraits, I make
small bird-size figures in ceramic, Aqua-resin, and
Barney Hodes (Field II)
YUKO YOSHIDA, approx 3' X 4' X 18'
CHERRY FU, approx. 3' X 3' X 18'
NATALIA, Approx. 30" X 24" X 15'
All three cement
As to statements, Matisse once said that artists should
have their tongues pulled out because if the work
doesn’t say it, what does? I’d like to keep mine, so
instead of making a statement I’d ask a question, “How
do we see people of an ethnicity different from our
own? As individuals with characteristics that are
uniquely their own, or as representatives primarily of
their “own kind”?
Cathrin Hoskinson (Field II)
To the Other Side of the Horizon Line/For Eric
Mirrored plexiglass and stainless steel
8” x 10” x ½”
To Eric Arctander, an enthusiastic organizer of the Farm project
with the Collaborative Concepts team, who passed away suddenly
last year. His cheerful presence is deeply missed by everyone at
Saunders Farm this year. To me he was synonymous with the fun
of the event, which I treasure for the opportunity to experiment
in an inspiring setting with few creative restrictions. He seemed
to be everywhere and I had the impression he liked everyone’s
work, every year, and of course one was inspired by his efforts to
help with the organization of the show. Of my own projects he
had been most fond of a stainless steel sailboat that I mounted on
a tree branch several years ago. Although the cows liked to push
it over, I have a wonderful photo of my intention, which was to
express the hopeful feeling of the future, as seen from the top of
the ridge and over the waves of the distant hills.
So this year I am returning to this theme and have made another
boat, smaller in scale–farther away–suggesting the dimension that
we cannot see where the spirit and energy of those who have left
us still reside.
Eric Jacobson (Field I)
Brass and copper tubing, stainless steel cable, dye patina
84” (h) x 48” (w) x 81” (d)
The work consists of curved “lines drawn in space,” interacting
with one another, and defining space. It was important to me to
incorporate color, movement, and sound. Relationships change
as the brightly colored elements move in the wind. Sound brings
another sensory field into play. The dyed copper and brass tubing
clang as the pieces collide.
The piece is inspired by living, organic forms: vines, tree branches,
underwater plants. When the wind passes through the elements
of the sculpture, it affects them but does not alter them.
Inspired by Calder mobiles and Kandinsky paintings, I am
exploring the concept of three-dimensional painting, in which the
curving copper tubes form the painted “lines” and define positive
and negative space.
Joseph Jaskolka (Field III)
Black Granite, River Stone, New England Field Stone, Connecticut Micah, Steel, Fire, Water, and Wind.
8.5' x 6.5' x 6'
The Elemental is a basic yet complex presentation of the four Classical
Elements, embodied into one being. Anything at all, that can
be experienced in any way, will have elemental qualities that can be
sensed and responded to. If this is true, the elements can be understood
as the fundamental basis of the relationships between extant
things, the source of shared qualities, the root level of correspondences
that ultimately form the orderly, coherent, and therefore
predictable world. As one's awareness of the elemental qualitties of
things increase, the world appears more predictable. To me, The
Elemental is an image of someone who has mastered the
recognition of elemental qualities, from the most simple to the
most intricate, therefore mastering life itself.
Thom Joyce (Field III)
My art is a pure expression of my joy and my insane approach
to life. I create each piece with an idea in mind but
I allow the creative process to take me on a journey. The
sculpture itself tells me when its done. I had a larger vision
for Cow Catcher but while setting up the connection
of the top to the tower, I realized that what I had was the
finished piece. I have cast, welded, bent, cut, and found
metal to bring my vision to life. I had not been focusing
on sculpting for a while and, with this new piece, my love
of the process has been rekindled.
Kevin Laverty (Field III)
Wood and plastic
14' (h) with variable dimensions in all directions
David Link (Field I)
6’ x 3’ x 1 1/2’
Inspired by the Minimalist Art Movement of the 1970s, David
seeks to continue in the tradition of “Less is More,” where harmony,
peace of mind, and balance combine like the statues of
Buddha in meditation. Effective use of color and negative space
further enhance the strength and power of his work.
Jim Lloyd (Field I)
9' (h) by variable
Brook Maher (Field V)
Metal, rope, clothespins
Textiles are among my favorite forms of artistic expression. Color, pattern,
texture, line, form, and detail challenge the bountiful inventiveness
and craftsmanship of the creators who are, more often than not,
anonymous women. Textiles are both practical and necessary, yet
also can be wildly or subtly expressive. Clothing is personal and my
artwork always comes back to the personal.
The Saunders Farm show provides an ideal venue for experimenting
with new media. I have been spending a lot of time in the past few
years at my home away from home in Taos. New Mexico has a long
tradition of metalworking, including decorative objects of pierced
tin and copper. When I began to render most of the garments for my
clothesline from flexible sheets of aluminum, they required something
more to give them definition and personality. I used a hammer
and nail and a screwdriver to pierce and make impressions on the
metal, mimicking needlework. I wanted the garments on the line to
“read” as three-dimensional without actually being so.
Drip Dry is also meant to be enhanced by the natural environment, reflecting
changing light and colors from the sky and adjacent foliage and
making a kind of music as the garments dance in the wind.
Lynne Mayocole (Field III)
A Small Ghost for Eric
7’ x 2’ x 2’ (includes base)
My Small Ghost for Eric is a memorial piece for Eric Arctander.
He was my sponsor last year at Saunders but died shortly after
the middle of the exhibition. I first knew Eric when we were both
artist adjuncts at Bronx Community College many years ago. Our
lives wove in and out since then, most spectacularly a few years
ago when he facilitated my and my partner’s trip to an amazing
adventure in Provence. I painted the base of my sculpture with
motifs from that area.
James Mulvaney (Field IV)
140" x 48" x 69"
Michael Natiello (Field III)
Approximately 8’ x 3’ x 2’
Jerome Harris Parmet (Field III)
Welded Painted Steel
72" x 36” x 24”
My artistic mode of expression is specifically steel sculpture–
the strength and durability of the material versus its surprising
liquidity and malleability fascinates me. I want my art to speak
for itself from my feelings to the viewer’s emotions. Therefore,
I work primarily without a preconceived plan or concept, as
the outpouring of absorbed experience plays a major role in
guiding my hands and achieving their goals. I might say it’s
Francine Perlman (Field V)
There Once Was a Gazebo
Wood and paper
7' x 7' x 7'
Conceived as a gazebo, my work was hopeful about the possibility
of peace in the West Bank. But during its development,
the entire Middle East met calamity after catastrophe, and the
piece changed accordingly. I could no longer festoon its surfaces
with colorful Palestinian and Israeli cultural icons. It’s still a quiet
piece, because I am still a minimalist, but I’m hoping it causes
people to reflect, to be moved, and to ask–what does she mean
by that? as I have been moved to ask myself.
I hoped that by calling it There Once Was a Gazebo, people would
know I meant there was a peaceful place and now there isn’t,
and I hoped that the two newspaper photos in the piece would
convey that I am now talking about Gaza without telling people
what to think. But not everyone is as obsessed with that part of
the world as I am, so if people don’t get the narrative, I think the
aesthetic solution stands on its own, a very important aspect of
all my work – room-like, lines, shadows.
David Provan (Field III)
The Fifth Noble Truth
PVC pipe, steel armature
The Fifth Noble Truth is a direct response to the demands of the
Saunders Farm site, as filtered through my perception, skills,
and biases. I understood the site to require: Monumentality (to
be seen within the vast expanses of the Farm, it is 28 feet high);
Durability (to withstand wind, rain, and cows, it’s fabricated from
super-stable PVC pipe, over a steel armature); Colorfulness (to
stand out in the overpowering greenness of the place, it is painted
the full spectrum of Rustoleum spray paint, excluding green); and
The title, The Fifth Noble Truth, refers to an addendum
to the Four Noble Truths of Buddhism that occurred to
me while designing and building the sculpture: “Can
one desire to be free of desire?”
Winn Rea (Field V)
Displacement/Flow: Hudson Highlands, 2014
Found branches, chair, twine
15’ x 20’ x 12’
Displacement/Flow: Hudson Highlands, 2014, is one in a series
of temporary environmental sculptures where a chair is a stand-in
for human presence in nature. Found branches are lashed
together, arcing up and around a chair wedged between the twin
trunks of a tree. The fluidity of the arc juxtaposed with the visual
compression of the twin trunks are a metaphor for the complex
relationship between humans and nature.
Winn Rea’s environmental, process-based art includes sculpture,
video installation, and works on paper. Her work, exhibited
nationally and internationally from New York, to Grand Rapids,
to Seoul, has been reviewed in The New York Times, Geijutsu-
Shincho, (a monthly Japanese contemporary Art magazine,) The
Huffington Post, and AlterNet. Rea is Associate Professor of Art at
Long Island University—Post, Brookville, New York.
Sheilah Rechtschaffer (Field V)
White plastic shrink wrap on a dead tree, bricks, cement, dirt, various discarded items
A stunted tree remains from last year.
Its awkward shape seems brutal. Life over.
Covered in white plastic, the shrouded tree is a symbol of an
uncertain future. At the base are scattered remains from blown-up
What isn’t there is the blood and the smell.
The decades of this endless conflict go by.
The violence increases and the latest news is a
We become either anesthetized or obsessively
seek newest information. We can do little. But
we can bear witness. We can empathize and we
can speak out against this human catastrophe
and say “not in our name.”
And we can hope that the latest ceasefire can
lead to justice.
Karen Roff (Field V)
Recycled and new plywood, branches
22" x 33" x 72" approximately
The Grove is a cluster of five separate tree-like shapes that share a communal base.
The name of the sculpture evokes the memory of the places in the woods that we
explored when we were children, and discovered wild undisturbed settings that
all possessed a distinct specificity, unlike the ‘manufactured’ landscapes of the
suburbs that are not really natural or unique. The fabricated aspect of the piece is a
reference to this human intervention upon the landscape, but also recalls how we
would spend hours constructing little mini environments out of
natural and synthetic materials. Close observation of the work reveals
that what from a distance looked homogeneous is actually an
accumulation of similar but disparate sections of wood from diverse
sources, hand cut and stained, which when combined integrate the
past into the present and create a new unity. The original objects
include a plywood side panel from a backyard playset that we made
for our daughter, sections of old art projects formerly painted
metallic silver, and random panels from the garden, making the
trees fragmented and irregular, like memory that is incomplete and
disjointed, bits of substance in a non-linear sequence.
Herman Roggeman (Field III)
Steel, plexiglas, paint
Mario Rusich (Field IV)
Bamboo and twine
10’ x 4’ x 12’
Passage tries to evoke and suggest the transition that we have to
make at this point in our universal history. By using natural materials
my work tries to embrace and reconnect to the organic underpinnings
that make us part and not separate from nature– all that
has been lost by our modern, post-industrial worship and total
reliance upon empirical, analytical, and
the scientific way of life. We have
become completely separated from
“nature” and our part in it.
Peter Schlemowitz (Field III)
Loop The Loop
20’ x 21’ x 13’
Loop the Loop is a culmination of four interests: large-scale,
endless sculpture, use of color in sculpture, cable-based sculptural
support systems, and sculpture as a constructivism or assemblage
of independent sculptural elements. The colors, inspired by a
restricted De Stijl palette and the organically shaped forms relate
to the formal vocabulary of my past pieces. The cable support
structure is based on the truss bridge design model. This piece’s
composition, in contrast to my earlier large-scale sculptures which
are composed of closed obliquely connected shapes, is composed
of a series of parallel open shapes that are not directly connected
to each other.
Fred Schlitzer (Field II)
Old Man Flying a Kite
7 1/2’ x 4’ x 1’
Hideki Takahashi (Field V)
Special acrylic on Denim canvas
10’ x 9’ each
Naomi Teppich (Field I)
Cactus Conundrum 2013
Steel rebar, steel mesh, cement, cement enamel
66” x 46” x 31”
My sculpture is a linear outline of a saguaro cactus. I have been attracted to this dry
weather plant form for several reasons. First of all it is a totally organic shape which
I find interesting. I have placed this desert plant sculpture in the Northeastern quadrant
of the United States, specifically Garrison, NY. The viewer may wonder why is a
cactus growing on a farm in New York state. It gives me the opportunity to affect the
viewer and alert him or her to the warming nature of climate change which can
affect our gardens, nature as we know it, and weather conditions.
It was also shown at the Green Door storefront window in 2013. I
have built several cacti pieces in the last few years. I have exhibited
them at the Kingston, NY, Sculpture Biennial, Saunders Farm Collaborative
Concepts sculpture park, Garrison, NY, and a very large
piece was exhibited as part of a solo show in 2012 at the Catskill Art
Society & Art Center in Livingston Manor, NY.
Jim Thomson (Field IV)
Vinyl and plastic
5.8' x 5'
Being born in a duck yard does not matter, if only you are hatched from a swan’s egg.
Alex Uribe (Field III)
Brick, clay tile, bamboo and stone
Chuck von Schmidt (Field III)
Wear R U Gong Les Cargo?
6’ x 8’ x 2.5’
This terrestrial pulmonate gastropod mollusks's approximation is a memorial
to my first NY pet, “Snailie,” whom I found at an Italian Fish Market on Bleeker
Street back in ’69. A real party animal, he would keep me up at nights as he
noisily chomped on lettuce. We were pals when Armstrong first set foot on the
Eva Whorley (Field IV)
Ellen Wilkinson (Field II)
Two Related Objects, blue and orange
4.5’ x 6’ 10” x 18”
This piece is about geometry and perception. The two objects
have the same dimension in depth and height but are different
shapes. The orange triangle is truncated so that all three sides
are of equal length. Orange and blue are complementary colors,
but the orange object reflects light much more powerfully than
the blue. The blue shape disappears in certain light. The blue and
orange shapes are not touching, but from several viewpoints they
appear to be. The viewing experience changes as the sunlight and
clouds animate the objects from above.
Dieter Kuhn and Max Yawney (Field III)
Bus Stop/(spinning) Buffalo Wings
Paint on wood with potters wheel
12’ x 8’ x 12’
College Program for Advanced Environmental Art
College Program for Advanced Environmental Art
was created in 2007 to provide
qualified college students the experience of creating and
presenting art with professional artists of the annual Farm
Project. As an educational component the selected artists
are mentored, from the process of conceiving a proposal,
through the installation of a final work of art. Besides
technical assistance, each student receives a stipend.
This year Storm King School, a private high school, created
a sculpture through this program with art teacher John
Previous recipients were Florencia Escudero, George
Heintz, Victoria Duffee, Christine Dempsey, and Mikyung
Mikki Kim. These artists are encouraged to be part of our