www.associationforpublicart.org:
Is one of seven sculptures named for Native American Indian tribes.
A Chinese influence can be noted in the central knot shape and brilliant red color.
www.associationforpublicart.org:
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.
www.theartblog.org:
The president of the Fairmount Park Commission, Robert N.C. Nix III said the location of the sculpture was 'the real Avenue of the Arts' and the sculpture and the FPAA were the 'cherry on the top of the cream pie.'
FPAA’s Penny Balk leader of those saviors of Philadelphia public art, called the sculpture daring and bold, and praised di Suvero for using 'the [construction] crane as his paintbrush.'
David Pincus said Iroquois was Philadelphia’s first major di Suvero, and that it stood as the gateway to Fairmount Park. 'Surely there’s an elegance to Iroquois that I’m sure you’ll all agree to.'
Iroquois is human, and depends on a number of strategies to stand erect, which suggests vulnerability; but its I-beams shout power and stability; its coat of red cries out to be recognized.
Di Suvero’s talk was about universal symbols in his art, the idea that we are all hard-wired to respond to certain shapes and marks. He himself often repeats a sort of knot in his work from which the I-beams radiate. He said he’s been writing a book about this idea of universal symbols for the last 30 years, and is still not finished. Later he said 'these abstract forms' are his material.
He expressed less interest in the prding and drawing–than the result. 'There’s the ectasy where the piece comes together.'
This is one of Mark di Suvero’s sculptures that David Pincus mentioned in his speech. He admired it for its gravity-defying qualities, but I think that’s something that’s in all of di Suvero’s work to some degree.
Then, reverting back to universal symbols, he began talking about how all of humanity is more the same than different and that it’s one world in which we live. 'We’re going to have to stop the insanity of war,' he said, recalling that he himself was arresting for refusing to serve in Vietnam. Then, taking up our common humanity again, he veered straight into politics and ended with a bang. 'We should certainly stop this war, which is based on lies. There are no weapons of mass destruction,' he said, adding that what the war is doing is destroying families–in Iraq and here. 'And what we need to do, we need to impeach Cheney and Bush.' The crowd applauded and laughed all at ded from the stage. What a romantic! I never would have guessed.
www.wikipedia.org:
Marco Polo "Mark" di Suvero (born September 18, 1933 in Shanghai, China) is an abstract expressionist sculptor and 2010 National Medal of Arts recipient.
Marco Polo di Suvero was born to Matilde Millo di Suvero and Vittorio di Suvero (later known as Victor E.), both Italians of Sephardic Jewish descent. Di Suvero was one of four children, the eldest being Victor di Suvero. His father was a naval attaché for the Italian government and the family resided in Shanghai until his father was relocated to Tientsin shortly after the birth of the family's last son in 1936.
With the outbreak of World War II, di Suvero immigrated to San Francisco, California with his family in February 1941 aboard the S.S. President Cleveland.
Di Suvero attended City College of San Francisco from 1953 to 1954, followed by the University of California, Santa Barbara from 1954 to 1955. He began creating sculptures while at UCSB after reflecting that he couldn't make an original contribution in his philosophy major. Under the guidance of RobertThomas, who allowed di Suvero to take his sculpting course, his work began to flourish. He transferred to the University of California, Berkeley and graduated with a B.A. in philosophy in 1957.
His early works were large outdoor pieces that incorporated wooden timbers from demolition buildings, tires, scrap metal and structural steel. This exploration has transformed over time into a focus on H-beams and heavy steel plates. Many of the pieces contain sections that are allowed to swing and rotate giving the overall forms a considerable degree of motion. He prides himself on his hands-on approach to the fabrication and installation of his work. Di Suvero pioneered the use of a crane as a sculptor's working tool.
His style is associated with the abstract expressionism movement, but directly evokes the spirit of the Russian post-revolution constructivism. Constructivism is strongly associated with concepts of an utopian socialist reconstruction, but came crashing down when the Stalin and Hitler empires failed. Di Suvero is the first artist post-war to revive the constructivist movement. The sculptures can be touched, and they are resistant enough to be climbed on.
Is one of seven sculptures named for Native American Indian tribes.
A Chinese influence can be noted in the central knot shape and brilliant red color.
www.associationforpublicart.org:
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.
www.theartblog.org:
The president of the Fairmount Park Commission, Robert N.C. Nix III said the location of the sculpture was 'the real Avenue of the Arts' and the sculpture and the FPAA were the 'cherry on the top of the cream pie.'
FPAA’s Penny Balk leader of those saviors of Philadelphia public art, called the sculpture daring and bold, and praised di Suvero for using 'the [construction] crane as his paintbrush.'
David Pincus said Iroquois was Philadelphia’s first major di Suvero, and that it stood as the gateway to Fairmount Park. 'Surely there’s an elegance to Iroquois that I’m sure you’ll all agree to.'
Iroquois is human, and depends on a number of strategies to stand erect, which suggests vulnerability; but its I-beams shout power and stability; its coat of red cries out to be recognized.
Di Suvero’s talk was about universal symbols in his art, the idea that we are all hard-wired to respond to certain shapes and marks. He himself often repeats a sort of knot in his work from which the I-beams radiate. He said he’s been writing a book about this idea of universal symbols for the last 30 years, and is still not finished. Later he said 'these abstract forms' are his material.
He expressed less interest in the prding and drawing–than the result. 'There’s the ectasy where the piece comes together.'
This is one of Mark di Suvero’s sculptures that David Pincus mentioned in his speech. He admired it for its gravity-defying qualities, but I think that’s something that’s in all of di Suvero’s work to some degree.
Then, reverting back to universal symbols, he began talking about how all of humanity is more the same than different and that it’s one world in which we live. 'We’re going to have to stop the insanity of war,' he said, recalling that he himself was arresting for refusing to serve in Vietnam. Then, taking up our common humanity again, he veered straight into politics and ended with a bang. 'We should certainly stop this war, which is based on lies. There are no weapons of mass destruction,' he said, adding that what the war is doing is destroying families–in Iraq and here. 'And what we need to do, we need to impeach Cheney and Bush.' The crowd applauded and laughed all at ded from the stage. What a romantic! I never would have guessed.
www.wikipedia.org:
Marco Polo "Mark" di Suvero (born September 18, 1933 in Shanghai, China) is an abstract expressionist sculptor and 2010 National Medal of Arts recipient.
Marco Polo di Suvero was born to Matilde Millo di Suvero and Vittorio di Suvero (later known as Victor E.), both Italians of Sephardic Jewish descent. Di Suvero was one of four children, the eldest being Victor di Suvero. His father was a naval attaché for the Italian government and the family resided in Shanghai until his father was relocated to Tientsin shortly after the birth of the family's last son in 1936.
With the outbreak of World War II, di Suvero immigrated to San Francisco, California with his family in February 1941 aboard the S.S. President Cleveland.
Di Suvero attended City College of San Francisco from 1953 to 1954, followed by the University of California, Santa Barbara from 1954 to 1955. He began creating sculptures while at UCSB after reflecting that he couldn't make an original contribution in his philosophy major. Under the guidance of RobertThomas, who allowed di Suvero to take his sculpting course, his work began to flourish. He transferred to the University of California, Berkeley and graduated with a B.A. in philosophy in 1957.
His early works were large outdoor pieces that incorporated wooden timbers from demolition buildings, tires, scrap metal and structural steel. This exploration has transformed over time into a focus on H-beams and heavy steel plates. Many of the pieces contain sections that are allowed to swing and rotate giving the overall forms a considerable degree of motion. He prides himself on his hands-on approach to the fabrication and installation of his work. Di Suvero pioneered the use of a crane as a sculptor's working tool.
His style is associated with the abstract expressionism movement, but directly evokes the spirit of the Russian post-revolution constructivism. Constructivism is strongly associated with concepts of an utopian socialist reconstruction, but came crashing down when the Stalin and Hitler empires failed. Di Suvero is the first artist post-war to revive the constructivist movement. The sculptures can be touched, and they are resistant enough to be climbed on.