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You searched for: Start Over Decade 1970-1979 Remove constraint Decade: 1970-1979 Institution University of Oregon Remove constraint Institution: University of Oregon Topic Sculpture materials Remove constraint Topic: Sculpture materials

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1. Fetish #13-4
Fetish #13-4
Description
A three-dimensional composition of a floral form utilizing a mixture of materials, such as feathers, clay and glaze on a mirror surface. The piece is housed in what appears to be a plexiglas box., Ken Shores; fetish #13; capital building h-2; portland, See http://www.broderickgallery.com/KenShores.htm, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Mid-Valley Arts. You may view their website at: http://www.oregonlink.com/arts/index.html
2. Native American Cradle Board
Native American Cradle Board
Description
This functional cradle board displays beaded adornment in the form of yellow and blue flowers and green vines., Priscilla Bettles; Native American Craddleboard; elk hide and beadwork; 33 x 10.5 x 15.5 inches, http://www.openc.k12.or.us/start/visual/basics/folk/vbas7e.html, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Regional Arts & Culture. You may view their website at http://www.racc.org/
3. Lamp Poles (2)
Lamp Poles (2)
Description
These two lamp poles have a cross-hatched pattern over the transparent portion of the lamp and a flat roof top., Light fixtures; photo by Rebecca, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is Lane Arts. You may view their website at http://www.lanearts.org
4. Fetish #13-4
Fetish #13-4
Description
A three-dimensional composition of a floral form utilizing a mixture of materials, such as feathers, clay and glaze on a mirror surface. The piece is housed in what appears to be a plexiglas box., Ken Shores; fetish #13-4; state capital vol III, See http://www.broderickgallery.com/KenShores.htm, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Mid-Valley Arts. You may view their website at: http://www.oregonlink.com/arts/index.html
5. Drapery of Memory
Drapery of Memory
Description
Glossy strips of blonde wood, joined side-by-side in varying directions create a large abstract form., Jan Zack; Oregon State Capital; drapery of memory; E. Entrance Lobby, Jan Zack (pronounced "Yon Zock") was born in Slany, Czechoslovakia in 1914 on the eve of the First World War. During the 1930's, he trained in Prague to become a painter and decorator. He came to New York in 1938 to work on the Czech Pavilion for the World's Fair and never returned to his native country, kept out by the invasion of the Nazis in 1939 and the Communist takeover in 1948. He lived in Rio de Janeiro, and the countryside of Brazil for the next eleven years. He married in 1951, and he and his wife, Judith, moved to Victoria, British Columbia, which was her home. Seven years later, Zack settled in Eugene Oregon when the University of Oregon (UO) hired him as a sculpture professor., http://www.askart.com/askart/z/jan_zach/jan_zach.aspx, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Mid-Valley Arts. You may view their website at: http://www.oregonlink.com/arts/index.html
6. Drapery of Memory
Drapery of Memory
Description
Glossy strips of blonde wood, joined side-by-side in varying directions create a large abstract form., Jan Zack; state capital vol III; drapery of memory; extra, Jan Zack (pronounced "Yon Zock") was born in Slany, Czechoslovakia in 1914 on the eve of the First World War. During the 1930's, he trained in Prague to become a painter and decorator. He came to New York in 1938 to work on the Czech Pavilion for the World's Fair and never returned to his native country, kept out by the invasion of the Nazis in 1939 and the Communist takeover in 1948. He lived in Rio de Janeiro, and the countryside of Brazil for the next eleven years. He married in 1951, and he and his wife, Judith, moved to Victoria, British Columbia, which was her home. Seven years later, Zack settled in Eugene Oregon when the University of Oregon (UO) hired him as a sculpture professor., http://www.askart.com/askart/z/jan_zach/jan_zach.aspx, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Mid-Valley Arts. You may view their website at: http://www.oregonlink.com/arts/index.html
7. view 2; detail of work in progress
view 2; detail of work in progress
Description
This detailed view shows the construction of Bonnie Bronson's red square piece. The steel depicted are in its original color., Bonnie Bronson; 1984; SOSC Ashland OR; McNeil Pavilion; work in progress, Bonnie Bronson was born in 1940 in Portland Oregon. She attended the University of Kansas, the University of Oregon and, from 1959 to 1961, studied at the Museum Art School (now the Pacific Northwest College of Art). More than most artists, Bronson resisted labels and did not want to be associated with one style, technique or medium. although she painted, she was not simply a painter. Her tapestry designs notwithstanding, she could not be classified as a textile artist. And, while she is best known for her public commissions, many of which are large sculptures, sculpture is not the backbone of her work. A brilliant colorist, Bronson often left her metal surfaces unpainted or used monochromatic finishes., The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Arts Council of Southern Oregon. You may view their website at http://www.artscouncilso.org/
8. view 4
view 4
Description
Bonnie Bronson plays with the composition and orientation of red square pieces. The vibrant red accentuates the building exterior and brings a splash of life to the surrounding environment., Bonnie Bronson; 1984; SOSC Ashland OR; enamel on steel; 9x13 ft, Bonnie Bronson was born in 1940 in Portland Oregon. She attended the University of Kansas, the University of Oregon and, from 1959 to 1961, studied at the Museum Art School (now the Pacific Northwest College of Art). More than most artists, Bronson resisted labels and did not want to be associated with one style, technique or medium. although she painted, she was not simply a painter. Her tapestry designs notwithstanding, she could not be classified as a textile artist. And, while she is best known for her public commissions, many of which are large sculptures, sculpture is not the backbone of her work. A brilliant colorist, Bronson often left her metal surfaces unpainted or used monochromatic finishes., The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Arts Council of Southern Oregon. You may view their website at http://www.artscouncilso.org/
9. view 1
view 1
Description
Bonnie Bronson plays with the composition and orientation of red square pieces. The vibrant red accentuates the building exterior and brings a splash of life to the surrounding environment., Bonnie Bronson; 1984; SOSC Ashland OR; enamel on steel; 9x13 ft, Bonnie Bronson was born in 1940 in Portland Oregon. She attended the University of Kansas, the University of Oregon and, from 1959 to 1961, studied at the Museum Art School (now the Pacific Northwest College of Art). More than most artists, Bronson resisted labels and did not want to be associated with one style, technique or medium. although she painted, she was not simply a painter. Her tapestry designs notwithstanding, she could not be classified as a textile artist. And, while she is best known for her public commissions, many of which are large sculptures, sculpture is not the backbone of her work. A brilliant colorist, Bronson often left her metal surfaces unpainted or used monochromatic finishes., The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Arts Council of Southern Oregon. You may view their website at http://www.artscouncilso.org/
10. view 3; detail of work in progress
view 3; detail of work in progress
Description
This detailed view shows the construction of Bonnie Bronson's red square piece. The steel depiected are in its original color. The identity of the person depicted is unkown., Bonnie Bronson; 1984; SOSC Ashland OR; McNeil Pavilion; work in progess, Bonnie Bronson was born in 1940 in Portland Oregon. She attended the University of Kansas, the University of Oregon and, from 1959 to 1961, studied at the Museum Art School (now the Pacific Northwest College of Art). More than most artists, Bronson resisted labels and did not want to be associated with one style, technique or medium. although she painted, she was not simply a painter. Her tapestry designs notwithstanding, she could not be classified as a textile artist. And, while she is best known for her public commissions, many of which are large sculptures, sculpture is not the backbone of her work. A brilliant colorist, Bronson often left her metal surfaces unpainted or used monochromatic finishes., The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Arts Council of Southern Oregon. You may view their website at http://www.artscouncilso.org/
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