{"id":98042,"date":"2016-05-16T10:30:50","date_gmt":"2016-05-16T14:30:50","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=98042"},"modified":"2016-05-16T12:45:12","modified_gmt":"2016-05-16T16:45:12","slug":"sculpture-in-the-landscape","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/05\/16\/sculpture-in-the-landscape\/","title":{"rendered":"Sculpture in the Landscape"},"content":{"rendered":"
\n

The art and life of Mark di Suvero<\/em><\/p>\n<\/blockquote>\n

\"Mark

Mark di Suvero in 1998 finishing his sculpture\u00a0Pyramidian<\/i>, 1987\u20131998, installed at\u00a0Storm King Art Center in Mountainville, New York. Photo: Jerry Thompson. \u00a9 Mark di Suvero.<\/p><\/div>\n

Three decades ago, long before the development of the High Line, the sculptor Mark di Suvero led an effort to transform an illegal garbage dump in Long Island City into a vast green space devoted to large-scale sculpture. Di Suvero was fifty-three years old at the time, and already a veteran of the public-art movement. During the sixties\u00a0and seventies, he had taken part in several outdoor sculpture exhibitions\u2014in Cincinnati, Houston, and Grand Rapids\u2014and he later created citywide solo shows of his work across the United States and Europe. By 1980, he was working out of a studio in Long Island City, not far from the four-acre landfill, and it wasn\u2019t long before he was dreaming about alternative uses for the neglected riverfront parcel. In 1986, di Suvero arranged to lease the property from the city for a dollar a year. Working with the Athena Foundation, an organization he had created nearly a decade earlier, he employed members of the community to clean up and replant the site. That fall, the newly christened Socrates Sculpture Park held its first public exhibition, which included work by Vito Acconci, Bill and Mary Buchen, Rosemarie Castoro, di Suvero, and others.\u00a0<\/p>\n

The sculpture park is but one of the subjects covered in\u00a0Mark di Suvero<\/a><\/em>, which was published last fall by the Storm King Art Center, with DelMonico Books. The book is the first full survey of di Suvero\u2019s work, and it explores several long arcs of his career, including his commitment to public art; his citywide exhibitions; and his relationships with Storm King, the city of New York, and his dealer, Richard Bellamy. The book also includes an interview with Ursula von Rydingsvard, a fellow sculptor, along with a superb selection of photographs of di Suvero\u2019s work.<\/p>\n

\"Mark<\/a>

Mark di Suvero in 1981 with his sculpture For<\/em> Rilke<\/i>, 1976, Saint Louis, Missouri. Photo: George Bellamy. \u00a9 Mark di Suvero.<\/p><\/div>\n

Mark di Suvero was born in Shanghai in 1933\u2014his father worked for the Italian Navy\u2014and moved to San Francisco with his family after the start of World War II. He graduated from UC Berkeley in 1957, where he\u00a0studied art and took\u00a0a degree in philosophy, and immediately moved to New York City. After a two-year stint in the East Village, he moved further downtown, to 195 Front Street, where his neighbors included Robert Indiana, Ellsworth Kelly, Agnes Martin, Jasper Johns, and Robert Rauschenberg.<\/p>\n

Like Indiana and Rauschenberg, di Suvero assembled his early sculptures from the detritus he found while walking around the city. Working with wooden beams, planks, rope, chains, and metal, he built dynamic sculptures that matched the paintings of the Abstract Expressionists in exuberance and size. In the fall of 1960, he showed three of these large works\u2014Hankchampion <\/em>(1960),\u00a0Che Far\u00f2<\/em>\u00a0Senza Eurydice<\/em>\u00a0(1959), and Barrel<\/em>\u00a0(1959)\u2014at his\u00a0debut exhibition of Richard Bellamy\u2019s Green Gallery. The works were immediately praised by critics and other artists, and the show announced di Suvero as a major sculptor.<\/p>\n

\"Mark<\/a>

Mark di Suvero, Che Far\u00f3 Senza Eurydice<\/i>, 1959. Weathered timber, rope, and nails. Photo: Ali Elai. \u00a9 Mark di Suvero.<\/p><\/div>\n

The Green Gallery show was a landmark, but it almost didn\u2019t happen. The spring before the opening, di Suvero suffered a terrible accident: both of his legs were paralyzed while he was working on a construction job that was unrelated to his art. His brother, Henry, along with several friends, helped him to finish the works for the Green Gallery exhibition. In the aftermath of the accident, di Suvero\u00a0realized that he had to find ways to make art that did not depend on his physical strength alone. Over the next few years, he\u00a0continued to build sculptures from found objects, but he also learned to weld, to operate a crane, and to use other machinery. By the late 1960s, he was making his sculpture exclusively from metal\u2014steel I beams, for the most part\u2014which allowed him to create sculpture at the scale of architecture, and of the modern city.<\/p>\n

\"Mark<\/a>

Yes! For Lady Day<\/i>,\u00a01968\u201369, painted steel. \u00a0Installation view, Storm King Art Center, Mountainville, New York. Photo: George Bellamy. \u00a9 Mark di Suvero.<\/p><\/div>\n

Like the city, di Suvero\u2019s sculptures provided many opportunities for interaction. Some early works incorporated benches or swings, which invited their audiences to experience the work physically as well as visually. As Elizabeth Baker pointed out in Art in America<\/em>, these seats offered an ideal perspective from which to view the sculptures: from within. Di Suvero strove to make his art as accessible as possible, including to people who do not regularly visit museums or galleries.<\/p>\n

Di Suvero was arrested twice for protesting the Vietnam War, and in 1971, his opposition to the conflict caused him to leave the United States. He lived for a time in Venice, and then moved to Eindhoven, in the Netherlands, which, in the spring of 1972, hosted his first citywide exhibition. In the fall of that year, he moved to Chalon-sur-Sa\u00f4ne, France, where he built six large-scale sculptures with a crane company and local steelyard. He exhibited his works in the town\u2019s public spaces between 1972 and 1974 and ultimately offered one of them to the city. Asked to choose their favorite, the citizens selected Ange des Orages<\/em>, from 1973. In 1975, several of di Suvero\u2019s sculptures were shown in Paris, in the Jardin des Tuileries, and later that year, he returned to the United States for a citywide show of his work in New York, as well as a major retrospective at the Whitney Museum.<\/p>\n

\"Mark<\/a>

Citywide exhibition view in Paris. From left: Are Years What? (For Marianne Moore)<\/i>, 1967; Galileo<\/i>,\u00a01996; Joie de Vivre<\/i>,\u00a01997;\u00a0Mozart\u2019s Birthday<\/i>,\u00a01989. Installation view, Le Jardin des Tuileries, Paris, 1997. Photo: George Bellamy. \u00a9 Mark di Suvero.<\/p><\/div>\n

During the Whitney exhibition, Peter Stern, the president of the Storm King Art Center, offered to \u201cwarehouse\u201d some of di Suvero\u2019s sculptures. In the winter of 1976, di Suvero selected locations in Storm King\u2019s fields for several of his works, including Are Years What? (For Marianne Moore)<\/em>\u00a0(1967),\u00a0Ik Ook<\/em>\u00a0(1971\u201372),\u00a0One Oklock <\/em>(1968\u201369),\u00a0Mother Peace <\/em>(1969\u201370), and Mon P\u00e8re, Mon P\u00e8re<\/em>\u00a0(1973\u201375). Storm King later purchased Mother Peace<\/em> and Mon P\u00e8re<\/em>, and has been a great supporter of di Suvero\u2019s work ever since.<\/p>\n

\"Mark<\/a>

Mother Peace<\/i>,\u00a0<\/i>1969\u20131970, painted steel. Installation view, Storm King Art Center, Mountainville, New York. Photo: Jerry L. Thompson. \u00a9 Mark di Suvero.<\/p><\/div>\n

Di Suvero\u2019s first exhibition at Storm King,\u00a0\u201c25 Years of Sculptures and Drawings,\u201d took place in 1985. He would later recall that when his sculptures were displayed\u00a0together at Storm King, \u201cthey had resonance between them.\u201d He went on, \u201cSuddenly,\u00a0there was this kind of family grouping.\u201d Storm King hosted exhibitions of di Suvero\u2019s work again in 1995 and 2005, and presented a show of his work on Governors Island in New York City, in 2011.<\/p>\n

The 2005 show, \u201cRichard Bellamy Mark di Suvero,\u201d was a tribute to Richard Bellamy, di Suvero\u2019s art dealer and close friend, who had died in 1998. In 1975, Bellamy had begun to photograph di Suvero\u2019s work\u2014at exhibitions, at his studio in Long Island City, and at Storm King\u2014and over the next two decades he amassed a huge archive of images. Bellamy\u2019s close relationship with the artist and the work allowed him to capture the sculptures in great detail, and with great sensitivity. \u201cHis vision of my work became the best photos of my sculpture that I know,\u201d di Suvero recalled in his essay for the show\u2019s catalogue.<\/p>\n

Given the vast expense and complex logistics of assembling exhibitions of large-scale sculpture, the sort of photographic documentation undertaken by Bellamy is especially important. It\u2019s also crucial, however, to see the work in person whenever you have the opportunity. Your experience of a sculpture\u2014moving around it, seeing the changing views, realizing its size compared to yours\u2014can only be felt in person. One intriguing aspect of large-scale sculpture is that the work changes as you approach it:\u00a0the interaction of the elements and the ways they overlap keeps shifting, creating an illusion of movement.<\/p>\n

When you are close to di Suvero\u2019s larger works, standing near or under or within them, they envelop you. From afar, you appreciate the drawing, the architecture, and in a surprising way, the lightness and delicate touch. The sculptures don\u2019t look heavy or straining; they sit gently on the land. Throughout his career, di Suvero maintained the fluid gesture of drawing, even though he worked with massive and rigid materials.<\/p>\n

\"Mark<\/a>

Jambalaya<\/i>, 2002\u20132006, painted steel. Installation view, Storm King Art Center, Mountainville, New York. Photo: Jerry L. Thompson. \u00a9 Mark di Suvero.<\/p><\/div>\n

You can see one of di Suvero\u2019s sculptures the next time you are in downtown Manhattan: Joie de Vivre<\/em> (1997) is situated in Zuccotti Park, near Trinity Church and the World Trade Center. But the best way to see a large group of di Suvero\u2019s work is to head upstate to Storm King, where a stroll through the fields provides a rural version of the citywide exhibition. The museum and grounds reopened for the season on April 6, and they have eleven of his sculptures on display.<\/p>\n

\"Mark<\/a>

From left: Pyramidian<\/i>,\u00a0<\/i>1987\u20131998; Beethoven\u2019s Quartet<\/i>, 2003; Mon P\u00e8re, Mon P\u00e8re<\/i>,\u00a01973\u20131975;\u00a0Mother Peace<\/i>,\u00a01969\u20131970. Installation view, Storm King Art Center, Mountainville, New York. Photo: Jerry L. Thompson. \u00a9 Mark di Suvero.<\/p><\/div>\n

Jonathan Lippincott is the design manager at Farrar, Straus and Giroux. He is the author of <\/em>Large Scale: Fabricating Sculpture in the 1960s and 1970s, and is currently at work on a monograph on the sculpture of Robert Murray.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

The art and life of Mark di Suvero Three decades ago, long before the development of the High Line, the sculptor Mark di Suvero led an effort to transform an illegal garbage dump in Long Island City into a vast green space devoted to large-scale sculpture. Di Suvero was fifty-three years old at the time, […]<\/p>\n","protected":false},"author":67,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[35,22323,22320,22322,964,22321,2422],"class_list":["post-98042","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-art","tag-fine-art","tag-mark-di-suvero","tag-richard-bellamy","tag-sculpture","tag-storm-king-art-center","tag-whitney-museum"],"acf":[],"yoast_head":"\nThe art and life of Mark di Suvero<\/title>\n<meta name=\"description\" content=\"The art and life of Mark di Suvero\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/16\/sculpture-in-the-landscape\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" 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