Iroquois (1983-1999)
Mark di Suvero (1933-)

  • Benjamin Franklin Parkway at Eakins Oval and Spring Garden Street Fairmount Park
  • Red painted steel (automotive grade) 42’L x 40′ H x 31’8″W, 35,000 pounds
  • Initiated by the Fairmount Park Art Association (now the Association for Public Art)
  • Owned by the Association for Public Art

Mark di Suvero’s monumental Iroquois has a robust energy and physical presence, which appeals to a wide audience. The abstract sculpture is formed from painted steel I-beams, which are emblematic of the artist’s use of industrial materials. A Chinese influence can be noted in the central knot shape and brilliant red color of the sculpture. Iroquois also has a characteristic kinetic element at its top. The open shapes invite public interaction and viewing from multiple angles. The artist has named seven sculptures for Native American Indian tribes: Mohican, Sioux, Shoshone, Miwok, Navajo, Catawba, and Iroquois.

Iroquois was acquired by the Fairmount Park Art Association (now the Association for Public Art) in 2007 with support from David N. Pincus.

 

Recommended Links: 

Mark di Suvero discusses his work at the Association for Public Art’s 135th Annual Meeting

the artblog: “You can’t tell a man by his sculpture: Mark di Suvero speaks”

 

Nearby artworks: 

Symbiosis (2011; installed 2014), Roxy Paine, 24th Street and Pennsylvania Avenue (Iroquois Park)

Washington Monument (1897), Rudolf Siemering, Eakins Oval in front of the Philadelphia Museum of Art

Charioteer of Delphi (5th Century B.C., cast 1977), Artist Unknown, Kelly Drive near 24th Street

Joan of Arc (1890), Emmanuel Frémiet, Kelly Drive at 25th Street

The Lion Fighter (1858), Albert Wolff, Front steps of the Philadelphia Museum of Art

The Mounted Amazon Attacked by a Panther (1839), August Kiss, Front steps of the Philadelphia Museum of Art

Rocky (1980), A. Thomas Schomberg, Centre Square Plaza, Kelly Drive and the Benjamin Franklin Parkway

 

Iroquois

Vimeo Video

Created by the Fairmount Park Art Association and made possible by funding from the Pew Center for Arts and Heritage through the Heritage Philadelphia Program.