The Sardinian artist Constantino Nivola was building sand castles with his children on a Long Island beach when he conceived a new kind of sculpture: bas-reliefs that would be molded in damp sand and then cast in concrete.
George Sugarman was a leader in the use of color to emphasize form. His “Wall Reliefs” for Wills Eye Hospital illustrate the musical and rhythmic nature of his work.
Leviathan is the sea monster mentioned in the Bible, often identified with the whale or crocodile. This sculpture by Seymor Lipton was purchased in 1969 through the City Planning Commission with grant funds received from the National Endowment for the Arts.
For this Redevelopment Authority one percent project, the artist created a two-part wall sculpture in which cages of bronze mesh are filled with 4.5 tons of limestone rocks.
David von Schlegell’s design features diagonal lines to counter the verticality of the nearby architecture. In basic shape “Voyage of Ulysses” resembles a sail, but its appearance varies from difference perspectives.
Commissioned by the GSA’s Art in Architecture Program, this 27-foot mural presents drummers and dancers in vivid colors with complex, interlocking geometric patterns clearly influenced by Charles Searles’ study of African art.
This Italian travertine marble fountain featuring four sea horses – symbols of strength and vitality – was a gift from the Italian government (Mussolini’s government) to mark the United States’ 1926 Sesquicentennial.
Beatrice Fenton was a Philadelphia sculptor known for her fanciful fountains with realistic renderings of youths amongst plant forms.
Dedicated to a former officer and director of the Zoological Society of Philadelphia, this fountain at the Philadelphia Zoo captures the sudden flight of impala antelope. The herd scatters in arc formations over jets of water in an oval-shaped pool.
Loosely brushed blocks of color, white chalky patches and lines, and confetti-like patterns are layered over larger fields of color, and these forms are framed by sections of stripes and checkerboard grids. To Brooker, the checkerboard, seen in many of his paintings, represents “options, possibilities, and what could happen.”