None of the animal sculptures in this post are very new to the Somerville Community Path, and I have visited them all before. Mainly I delayed posting about them because I wanted to learn more about each one. So far my usual online research has not led to informative links I’d like to share.
This week though, with playgrounds closed and other outdoor options limited, the bike paths beckon people of all ages. Along the path, intriguing artworks await our attention and give pleasure by their presence. Maybe this post will lead to answers from people who made these animals or know the stories of their creation.
In honor of International Women’s Day, I will first focus on the four women artists who have created murals for Underground at Ink Block, an urban park that opened in Boston’s South End 2017. I have already enthusiastically posted about other murals by Silvia López Chavez and Imagine876 (Sneha Shrestha), but Thy Doan and Indie184 (Soraya Marquez) are new discoveries for me.
These three murals within three blocks of each other build on local history and also have histories of their own, revealed as I lately took time to look at them and look online about them. A great resource was Lisa Houck’s documenting of the processes and people involved in restoring her mural on her blog and website. I hope now that the other murals noted here can get similar support to regain clarity, color, and impact.
A sudden flurry of bird activity in my yard this past weekend got me out on the mild Monday, February 3, to revisit three artworks in easy walking distance from each other: Extraordinary Ordinary Birds, “Colony,” and “Penny the Swan.” All three added to my appreciations of birds and art.
The photos in this post come from January 1, 2020, the last time I visited Elliott Kayser’s eight ceramic pigs along the Rose Kennedy Greenway. They had kept their stations well for almost a year. Now that the Year of the Pig is almost over they are gone!
From a very informative Greenway blog post, I have learned that five of the pigs have moved on to the Fuller Craft Museum in Brockton. Chiefly the blog post clearly tells a story with great photos of ten steps involved in creating the pigs. If you wondered about the origins or future of these sculptures, about 250 pounds each, read that blog post.
Today I want to note this one of many murals by Rob “Problak” Gibbs and share some ways it adds to my awareness of what a mural can do. This one can actively demonstrate hand signs for its title when you view it through an app in your device. My post, so far, won’t directly reveal the actions but gives you links to see them or, better yet, go to the wall on Tremont Street at Camden Street, where you can enliven them yourself.
Since The Kip Tiernan Memorial near Old South Church in Copley Square was dedicated in early October 2018, I have walked through and also paused there several times. My photos in different seasons suggest how the sheltering structure subtly directs our flow and where we stop to read Kip Tiernan’s words. I feel that the design and details function as intended, to enhance memories and convey an overarching mission.
I visited Alicja Kwade’s TunnelTeller at Castle Hill in Ipswich in mid-November and hope to do so a few more times before it goes on April Fools’ Day! This post shows my photos of Kwade’s impressive work , including outdoor art at MIT. It provides links to more persuasive photos and information. I’m posting now so local friends and colleagues can plan to go before Kwade’s art has gone.
Four of Madeleine Lord’s scrap-metal sculptures have enlivened the lawn of Federal Reserve Bank of Boston for at least four years now. Through those years I have wanted to post about them but hoped to take better photos and learn more about the artist first. Earlier in November I got to see more of her art in the New England Sculptors Association exhibition Spirit of Place at Castle Hill. I still need to take good photos, but I can link you to strong ones on the artist’s website and two other sites listed below. Those sites also offer fascinating information about Madeleine Lord’s art and process, such as her statement here.
David Phillips is a sculptor; David Fichter is a muralist. With their distinctly different materials, both are masters of rendering historical figures and events. Both have created public art that is densely packed with researched images and documents. As public art, the expansive colorful mural and the tactile intimate bronze relief wait openly for anyone who wants to focus on some sign or scene and make their own associations.
Art Outdoors 