http://www.artinthepublicrealm.com/home daily 1.0 2019-04-15 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5ee05d14566b466a11a736d5/1591762220297/Gray_Image_%25231.jpg HOME TODD GRAY Untitled https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5ee05c5f9e624700392cfea8/1591765091479/MoselyBench01_photo_x4b.jpg HOME THAD MOSLEY Three Rivers Bench https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5cb3d7c4ec212dcb3f43f894/1555290149224/Hammer%2BClock.jpg HOME DANIEL MARTINEZ Hammer Clock https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5cb3d7c415fcc0d49a7e3e40/1555290080158/uploaded-file-10182.jpg HOME NAM JUNE PAIK Video Arch https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5cb3d73ef9619adc67f69e6f/1555289986947/Installation.jpg HOME ROMAN DE SALVO Nexus Eucalyptus https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5cb3d73e953adb00019d4863/1555289943795/Full%2Bview%2Bwithin%2Batrium.jpg HOME MEG CRANSTON Orange Grove Fountain https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5cb3d73e9b747a58e8af4fdd/1555290029093/Image%2BWell%2Band%2BLight%2BPortraits.jpg HOME ANN CHAMBERLAIN Archive Lobby https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5cb3d6a9971a185dbad66286/1591762162156/Two%2Bbronze%2Btrees.jpg HOME TONY TASSET Magnolias for Pittsburgh https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5cb3d6a971c10b4ea8d553da/1555289846093/unnamed-3.jpg HOME JENNY HOLZER For Pittsburgh https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5cb3d6a9eef1a1633f6a6572/1555289803470/Screen%2BShot%2B2018-06-03%2Bat%2B12.59.57%2BPM.png HOME RENEÉ GREEN Code:Survey https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5cb3d615f9619adc67f694c4/1555289733435/Live%2Bfeed%2Band%2Barchived%2Bimages.jpg HOME STEVE APPLETON FaceTime https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5cb3d615a4222f2c69eb8022/1555289670738/Pedestrian%2Bat%2Bplay.jpg HOME CHRISTIAN MOELLER Mojo https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5cb3d6156e9a7f1034ab7bbb/1555289753066/Automobile%2Bentrance.jpg HOME BOB ZOELL untitled https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5cb3d575b208fc58ff6e5e6a/1555289488543/Overview%2Bfrom%2Bbalcony%2Bof%2BThe%2BShorebreak%2BHotel.jpg HOME MCCARREN / FINE Waterline https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5cb3d575ab5e9c0001359f19/1555289597230/Artist%2Bat%2Bwork.jpg HOME GWYNN MURRILL Eagle, Big Horn Sheep and Mountain Cat https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5cb3d575e79c70e52f2ae037/1555289553417/Recycled%2Bwater%2Bpouring%2Binto%2Bbucket.jpg HOME BUSTER SIMPSON Whole Flow https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5cb3d44c439f6700017b6bc2/1555289213319/Nightime%2Bview%2Bwith%2Bblue%2Blights.jpg HOME BRIAN TOLLE Remembering Walter H. Deubner https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5cb3d44cfa0d60178b26aa89/1555289291441/Daytime%2Bview.jpg HOME CHRISTIAN MOELLER Sliver https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5cb3d424a4222f2c69eb6f1c/1555289231958/uploaded-file-27041.jpg HOME TONY TASSET Rainbow https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5cb3d2e7e5e5f08d0143e142/1555289251415/murmuration_1577_Javier_Bosques.jpg HOME JENNIFER STEINKAMP Murmuration https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5cb3d2e5e4966b391d98e13c/1555289246217/kahn_lb-57.jpg HOME NED KAHN Air Columns https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5cb3d2e5104c7b72bcda3f6c/1555288840586/Bobble%2B1%2Bphoto_%2BJohn%2BBaker.jpg HOME CHRISTIAN MOELLER Bobble https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5cb3d21ba4222f2c69eb5900/1555288773133/MVG_2.jpeg HOME MONIQUE VAN GENDEREN Under the Sun https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5cb3d21a53450a9de19eb1b0/1555288660193/Back%2BLot%2B1.png HOME MICHAEL C. MCMILLEN Back Lot https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5cb29fcc8165f55d35d5a909/5cb3d1e87817f7173ade8836/1581543477671/Echelman_2%26homepage.jpg HOME JANET ECHELMAN Dream Catcher http://www.artinthepublicrealm.com/about daily 0.75 2019-03-28 http://www.artinthepublicrealm.com/glow daily 0.75 2017-11-15 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/59061fccb8a79b7addb1ab32/1493573609680/ GLOW The Space Between Us by Janet Echelman for Glow 2013 Photo: William Short https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/590196d61b10e3a0176c4fed/1493276399104/ GLOW shapednoise by Céleste Boursier-Mougenot for Glow 2010 Photo: William Short https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5901958003596e0168c9460c/1493276052491/ GLOW 6:43 PM by Mathieu Briand for Glow 2013 Photo: William Short https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5906204aff7c50866d99e0b1/1493573711836/ GLOW Intersection by Freewaves/SuperExpo for Glow 2010 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5906201d725e256add199b1c/1493573693662/Lozano-Hemmer%2BSandbox%2B2010%2Bcopy.jpg GLOW Sandbox by Rafael-Lozano Hemmer for Glow 2010 http://www.artinthepublicrealm.com/publicart daily 0.75 2020-06-10 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5b1462be03ce643a9960ecbc/1528062662864/download-17.jpg PUBLIC ART https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5b1452ef0e2e7280eed01f26/1528058616123/download-2.jpg PUBLIC ART https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5b1450220e2e7280eecfab06/1528064138185/download.png PUBLIC ART https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5b146382575d1f3cec0a17c5/1528062861264/download-15.jpg PUBLIC ART https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5b14580b562fa731e98653a4/1528059916937/download-9.jpg PUBLIC ART https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5b14569c575d1f3cec0823ff/1528059560916/download-6.jpg PUBLIC ART https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5b14617b70a6ad796eb12598/1528062343191/download-11.jpg PUBLIC ART https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5b14528d88251b5f164d09ac/1528058517363/download-1.jpg PUBLIC ART https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5b1461d203ce643a9960c9f4/1528062441859/download-12.jpg PUBLIC ART https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5b145643758d4674dd80fa37/1528059477200/download-5.jpg PUBLIC ART https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5b146083575d1f3cec09a676/1528062092189/download-10.jpg PUBLIC ART https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5b14511d6d2a73dbd10574c7/1528058152903/download.jpg PUBLIC ART https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5b14656faa4a99a4052f672f/1528063357316/download-18.jpg PUBLIC ART https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5b14612e6d2a73dbd107ed39/1528062262802/download-16.jpg PUBLIC ART https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5b14628f88251b5f164f7d4b/1528062621042/download-13.jpg PUBLIC ART https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5b144cf61ae6cfd591e10207/1528057311332/Screen+Shot+2018-06-03+at+12.59.57+PM.png PUBLIC ART https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5b145579562fa731e985eee0/1528059272357/download-3.jpg PUBLIC ART https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5b14570a1ae6cfd591e29ef7/1528059663687/download-7.jpg PUBLIC ART https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5b1455fd0e2e7280eed09973/1528059400161/download-4.jpg PUBLIC ART https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5ee05af1e4bf9628b540214b/1591764960051/MoselyBench_thumb.jpg PUBLIC ART https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5b14642d2b6a28386f6b5a08/1528063035794/download-14.jpg PUBLIC ART https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5b145776aa4a99a4052d470b/1528059861506/download-8.jpg PUBLIC ART https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5ec022e45bddb16cf6ab56ec/1589650535071/Gray_Image_%231sq.jpg PUBLIC ART https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5b146617575d1f3cec0a80f7/1528063539466/download-19.jpg PUBLIC ART https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/t/5b14517e8a922d2bc9060a31/1528058244204/download-1.png PUBLIC ART http://www.artinthepublicrealm.com/gwynn-murriell daily 0.75 2020-09-02 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59018c5b3e00be4005be8568/59018c5dcd0f68ca0a096a06/1493447050813/The%2BCougar%2Bon%2BUnion%2BStreet.jpg GWYNN MURRILL – The Montana - The Montana Cougar Intaglio measures 8 feet 6 inches tall and 20 feet wide. Like the Raptor Intaglio this piece demonstrates the confidence of both the artist and the architect that the integrated carving would be strong and independent art as well as a valued enhancement to the building. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59018c5b3e00be4005be8568/59018c5db3db2bcba694761c/1493447013174/Partial%2Bview%2Bof%2Bone%2Beagle.jpg GWYNN MURRILL – The Montana - The Montana Lighting conditions allow for different sensation in viewing the raptors. Here, the sixty foot wing space of one bird is highlighted in morning light. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59018c5b3e00be4005be8568/59018c5ca5790a7ef190b283/1493446998698/Colorado%2BBlvd%2Bfacade.jpg GWYNN MURRILL – The Montana - The Montana The facade of The Montana shows the two carved raptors in the limestone on the first level of the building. Spanning eighty feet of the facade, the two birds re-invigorate Pasadena's long tradition of integrated art and architecture with a contemporary vibrancy. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59018c5b3e00be4005be8568/59018c5c414fb5a450ae0443/1493447026383/Bighorn%2B%2BFountain%2Bon%2BColorado%2BBlvd.jpg GWYNN MURRILL – The Montana - The Montana Bighorn Fountain is a life size bronze of a bighorn sheep, set atop rough hewn limestone blocks from the quarry that provided the stone for The Montana's facade. Water sparingly cascades down the edge of the blocks, much like the slight water seepage one would find in the bighorn's native environment. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59018c5b3e00be4005be8568/59018c5c20099e50e4085fd2/1493447067463/Artist%2Bat%2Bwork.jpg GWYNN MURRILL – The Montana - The Montana Gwynn Murrill created both the Cougar Intaglio and the Raptor Intaglio working entirely on site using scaffolding to reach the highest areas. http://www.artinthepublicrealm.com/jennifer-steinkamp daily 0.75 2020-09-02 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/590433c629687f041c9eeea7/5908226af5e231058f1839d7/1503268582458/murmuration_1628_Javier_Bosques.jpg JENNIFER STEINKAMP – Murmuration - Full view of atrium People waiting in line to clear the security procedures required to access the building can easily view Murmuration and turn to the opposite direction to look through the five story glass curtain wall to see Ned Kahn's "Air Columns". Photo courtesy Javier Bosques https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/590433c629687f041c9eeea7/590822219de4bbccbb498b8e/1503268582455/murmuration_1660_Javier_Bosques.jpg JENNIFER STEINKAMP – Murmuration - Pedestrian standing behind "Murmuration" on third floor bridge Pedestrians crossing the four pedestrian bridges in the atrium become part of the artwork as their movement and the movement of the feathers intersect with one another. Photo courtesy Javier Bosques https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/590433c629687f041c9eeea7/5908218815cf7d8b44cd608b/1503268582452/murmuration_1681_Javier_Bosques.jpg JENNIFER STEINKAMP – Murmuration - Pedestrians shown behind LED screen Steinkamp constructed the imagery bit by bit and then animated the forms. This labor-instensive process is the hallmark of her work and accounts for the highly unique and compelling imagery for which she is known. Murmuration is just under three minutes in length and plays as a continuous loop. Photo courtesy Javier Bosques https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/590433c629687f041c9eeea7/590820e115cf7d8b44cd5ac5/1503268582446/murmuration_1612_Javier_Bosques.jpg JENNIFER STEINKAMP – Murmuration - Looking up toward MediaMesh in lobby Steinkamp places a high value on the visual experience and pleasure of the viewer and makes art of great beauty. Her art uses advanced technologies to an unexpected and accessible end. Murmuration provides respite for users of the building, who are present for business that is often stressful. Great court buildings of the past have been defined by great art and architecture, with the use of such materials as marble, bronze and oil paint. Today, artists are using contemporary materials such as light and electronic software. Steinkamp is an exemplar of contemporary art practice and her work inspires both an acknowledgment of the abiding power of beauty and a commitment to explore and make use of the most current resources and discoveries of today. Photo courtesy Javier Bosques https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/590433c629687f041c9eeea7/590820aecd0f68100136defd/1503268582443/murmuration_1452_JS.jpg JENNIFER STEINKAMP – Murmuration - Full view of atrium lobby space Standing on the lobby’s ground floor in front of the MediaMesh, viewers see Steinkamp’s imagery; standing behind the MediaMesh, viewers see nothing but the physical metal mesh and the vista beyond. The MediaMesh and the regular stainless steel mesh surrounding it are connected forming one seamless object. Cables connect the MediaMesh to a controller and a computer located in the building but out of sight to viewers. Photo courtesy Javier Bosques https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/590433c629687f041c9eeea7/59082037197aea1972830038/1503268582437/murmuration_1577_Javier_Bosques.jpg JENNIFER STEINKAMP – Murmuration - Murmuration   The LED screen used by Steinkamp is a fairly recent innovation from the firm GKD Metal Fabrics that also provided the stainless steel mesh screen (measuring 63.5 feet high by 75 feet wide) that hangs in front of the four pedestrian bridges crossing the atrium space. Known as MediaMesh, the system weaves LED strips into metal fabric at regular intervals. Unlike conventional LED displays, the MediaMesh is transparent, a fact that made its use very appealing to Steinkamp. Photo courtesy Javier Bosques http://www.artinthepublicrealm.com/ned-kahn daily 0.75 2020-09-02 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5904358abf629a577a8a6ad9/5904358fbe659450875b1874/1589649463069/kahn_one%2Bcolumnb%2Bglass%2Bwall.jpg NED KAHN – Air Columns - Single column against glass wall Under certain daytime conditions the quality of light that is reflected off of the rotating flaps interacts and blends with the reflectivity of the building's windows creating an especially ephemeral and glimmering atmosphere. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5904358abf629a577a8a6ad9/5904358df5e2319ca1263534/1589649463066/kahn_one%2Bcolumn%2Btight%2Bfocus.jpg NED KAHN – Air Columns - Looking up on column The sixty foot high column contains twenty 30" sections with three rows of aluminum flaps each. The ten foot high concrete base provides security for the artwork and establshes a dialgoue with traditional sculpture that often sat in front of courthouses places on pedestals. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5904358abf629a577a8a6ad9/5904358c6a4963659238a7cf/1589649463063/kahn_lb-from%2Babove.jpg NED KAHN – Air Columns - Close up of individual flaps This image shows the individual four by two inch aluminum flaps that easily rotate in the wind but the placement of the flaps in a circular format guarantees some flaps will move faster than others and often some flaps move while others remain stationary. The fluttering effect on the columns gives them a mirage-like presence, as if their physicality might be questioned. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5904358abf629a577a8a6ad9/5904358b1b631b48920e955b/1589649463060/kahn_lb-57.jpg NED KAHN – Air Columns - Main entrance to courthouse The building archtiects, AECOM, included a a series of symbolic columns at the entrance to courthouse. While not structural elements the columns serve as visual code for tradition and continuity with Kahn's adept refashioning of the solidity of the columns into semi-transparent form providing a link to nature and its constant mutability. Kahn’s long-established interest in the intersection between art and science has found a great opportunity at the George Deukmejian Courthouse. He researched wind conditions at the site, just several blocks from the Pacific Ocean, and determined the conditions were excellent for a sculpture of this nature. There will be periods of quiet with little motion and there will be periods of great activity. Changes within each day and season are phenomena that frequent users of the building and adjacent neighbors are likely to notice. Kahn’s ambition is to bring a sense of wonder and joy to the people who come into contact with his artwork. While technically adept and beautifully detailed and constructed, the work is ultimately a visual wonder and a welcoming beacon at the entrance to the court building. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5904358abf629a577a8a6ad9/5904358b86e6c0c5239af258/1589649463055/kahn_lb-4columns.jpg NED KAHN – Air Columns - Looking toward Magnolia Street Kahn's towering scultures provide significant presence on Magnolia Street and they are also highly visible from within the five-story atrium that defines the entrance space of the courthouse. Jennifer Steinkamp's video work, Murmuration is visible through the five-story glass wall that separates the atrium from the entrance plaza and the two artworks, which include references to nature and flux, are in constant dialogue with one another. http://www.artinthepublicrealm.com/tony-tasset daily 0.75 2020-09-02 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/590436a22e69cf367cdb6e7c/590436a746c3c4287ec9eb28/1493448456400/uploaded-file-83804.jpg TONY TASSET – Rainbow There are fourteen steel truss sections bolted and welded into place forming the 188 foot span of Rainbow. The weight of the structural steel alone is over 100,000 pounds. The longest section is 40 feet and weighs over 30,000 pounds. Moving the sections required 10 flat bed trucks. Rainbow's surface is made of648 aluminum panels covering over 7,760 square feet. The six colors required 163 gallons of paint. The fabrication and installation crew numbered 115 people. Like the movies made on the Sony lot, the creation of Rainbow required a host of extremely skilled and varied artisans and construction workers. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/590436a22e69cf367cdb6e7c/590436a703596ed6c16d9339/1493448412336/uploaded-file-82337.jpg TONY TASSET – Rainbow The southern foot of Rainbow is situated just off the main pedestrian walkway through Sony's lot. This is destined to become a great location for photographs. Reflections in the building's windows change throughout the day and emphasize the central role of light in perceiving the sculpture and its setting. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/590436a22e69cf367cdb6e7c/590436a6bebafb1fcb36da19/1493448431413/uploaded-file-50773.jpg TONY TASSET – Rainbow Rainbow was fabricated off-site and brought to Sony for assembly and installation. The painted aluminum panels were covered for protection as two 330-ton capacitycranes lifted the giant steel span into vertical position where it was bolted and welded into place. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/590436a22e69cf367cdb6e7c/590436a559cc68420fc442e7/1493448422205/uploaded-file-40063.jpg TONY TASSET – Rainbow Rainbow as seen looking east from Main Street on the Sony Lot. There are three sides to Rainbow with the color sequence rotating around in such a way as to avoid the same color meeting on any one of the three edges. The west-facing surface begins at the top with red while the east-facing surface begins at the top with purple. Where the two sides meet at the bottom of the triangle the purple from the west meets the red from the east. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/590436a22e69cf367cdb6e7c/590436a33a04117659be97f3/1493448380869/uploaded-file-35722.jpg TONY TASSET – Rainbow The creation of Rainbow was an unusally complex and ambitious undertaking that required consistent and capable team effort. Rainbow began with Tony Tasset's inspired concept and the full suport and encouragement of Sony Pictures Entertainment and everyone on its fine team. Peter Carlson and John Baker of Carlsonarts conceived the strategies and managed the details and challenges of fabrication and installation and Mike Ishler proved brilliant in finding elegant engineering solutions. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/590436a22e69cf367cdb6e7c/590436a3a5790a97f0e9e767/1493448391906/uploaded-file-27041.jpg TONY TASSET – Rainbow The historic Thalberg Building is framed by Rainbow. Like much of Tony Tasset's work, Rainbow takes imagery from popular culture and transforms it into sculpture, in this case the essential qualities of a rainbow, that is its distance and ephemerality are contradicted by the sheer physical presence of the sculpture. http://www.artinthepublicrealm.com/brian-tolle daily 0.75 2020-09-02 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59043775e6f2e142b497141b/590437784402431ac4890ca7/1493448662439/Nightime%2Bview%2Bwith%2Bred%2Blights.jpg BRIAN TOLLE – Remembering Walter H. Deubner - Remembering Walter H. Deubner https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59043775e6f2e142b497141b/59043778d2b857ecc25b7155/1493448652510/Nightime%2Bview%2Bwith%2Bgreen%2Blights.jpg BRIAN TOLLE – Remembering Walter H. Deubner - Remembering Walter H. Deubner https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59043775e6f2e142b497141b/59043777b3db2ba7eaf67f1a/1493448614190/Nightime%2Bview%2Bwith%2Bblue%2Blights.jpg BRIAN TOLLE – Remembering Walter H. Deubner - Remembering Walter H. Deubner The computer-controlled LED system (light emitting diodes) contains a full spectrum allowing for an infinite palette of colors. Tolle set up a system that could be programmed by Macerich although he delivered the sculpture with several sample light programs. The transition from color to color can be manipulated in as wide or narrow a range as desired and with a range of programming times. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59043775e6f2e142b497141b/59043776b3db2ba7eaf67f14/1493448598791/Daytime%2Bview%2Blooking%2Bsouthward.jpg BRIAN TOLLE – Remembering Walter H. Deubner - Remembering Walter H. Deubner The view of the sculpture looking south, as people exit the building, is toward a large parking lot and grove of trees. Here the sculpture assumes a more independent and abstract identity not immediately associated with the function of the shopping center behind it. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59043775e6f2e142b497141b/590437764402431ac4890c99/1493448585852/Daytime%2Bview.jpg BRIAN TOLLE – Remembering Walter H. Deubner - Remembering Walter H. Deubner The transparency of the sculpture allows unimpeded visual access to the building entrance and at the same time commands a visual presence of the space. Pedestrians can walk through the sculpture as well as around it, giving it as especially high social character. http://www.artinthepublicrealm.com/christian-moeller daily 0.75 2020-09-02 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59043892197aeab0a1e1dceb/59043893ff7c50866d88f2c3/1527739816133/View%2Bfrom%2Bthe%2Brear.jpg CHRISTIAN MOELLER – Sliver - "Sliver" Sliver is a 60' tall steel column with an LED panel inset in the front. The two towering "doors" on both sides of the LEDs serve to block afternoon sun from the screen as well as provide seismic reinforcement for the column. Like much of Moeller's work, Sliver appears both as a unique art object and as a type of regular infrastructure, especially as seen here in the rear of the sculpture. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59043892197aeab0a1e1dceb/590438922e69cf367cdb79f2/1527739816125/Daytime%2Bview.jpg CHRISTIAN MOELLER – Sliver - "Sliver" https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59043892197aeab0a1e1dceb/590438924402431ac489134a/1527739816130/Daytime%2Bview-1.jpg CHRISTIAN MOELLER – Sliver - "Sliver" Macerich commissioned Christian Moeller to create an artwork for the central space of the completely redesigned Santa Monica Place. Now an open-air shopping center, Moeller's artwork serves as a focal point for the circulation paths within Santa Monica Place and for the extension of the Third Street Promenade. The LEDs are bright enough to be noticeable during daytime as well as evening hours, and the constantly shifting patterns can occasionally be decoded to reveal glimpses of recognizable imagery from various cable news outlets but the artwork remains primarily a light sculpture. http://www.artinthepublicrealm.com/mccarrenfine daily 0.75 2020-09-02 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5904395659cc68420fc452e6/590439591b631b48920eab51/1493449138928/The%2BWave%2Bat%2Bnight.jpg MCCARREN/FINE – Waterline - Waterline The height of the column here is exactly the height of the pilings of the nearby pier and the angle of installation if the same as for many of the pilings that support the pier. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5904395659cc68420fc452e6/590439589f7456663eae603b/1493449121234/The%2BWave.jpg MCCARREN/FINE – Waterline - Waterline https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5904395659cc68420fc452e6/590439571b10e3b407c18ce8/1493449102758/Overview%2Bfrom%2Bbalcony%2Bof%2BThe%2BShorebreak%2BHotel.jpg MCCARREN/FINE – Waterline - Waterline Overview of the Paseo with Barnacle Piling and the Wave, the two major sculptural elements of Waterline. Aslo visible are the artist-designed paving pattern and the modified pedestrian bridge harkening to the nearby Pier. Close cooperation between the artists and Gensler Architects and BGB Landscape Architecture allowed the integration of many of the artists' ideas into the fabric of the project. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5904395659cc68420fc452e6/59043956cd0f68a240104a46/1493449170361/Mosaic%2Bmurals.jpg MCCARREN/FINE – Waterline - Waterline Across the street from the Paseo is Shorebreak Hotel, site of two mosaic murals. One mural covers the ceiling and back wall on the stairwell from ground level to parking below and transitions from deep water blue to a pale sky blue. The wall adjacent to the elevators is the sun wall, arranged in gradations of warm colors from red to yellow. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5904395659cc68420fc452e6/59043956c534a5c0bcd1edf9/1493449151669/Barnacle%2Bpiling.jpg MCCARREN/FINE – Waterline - Waterline Cast bronze barnacles offer a strong image of the intent of Waterline as barnacles thrive in the true intersection of water and air, a space that is occupied by people and the natural world. http://www.artinthepublicrealm.com/buster-simpson daily 0.75 2020-09-02 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59043e116a4963659238db1b/59043e1986e6c0c5239b245a/1493450368125/Recycled%2Bwater%2Bpouring%2Binto%2Bbucket.jpg BUSTER SIMPSON – Whole Flow - Whole Flow The aerated water pours into a bucket at the bottom of the stack of bowls and is subsequently distributed to adjacent landscape areas. The capacity to produce cleansed water by Whole Flow is so great that it is hoped and intended that future and adjacent development will be able to receive landscape irrigation water from this source. Required signage reminds the public that the water is not for drinking purposes. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59043e116a4963659238db1b/59043e1937c581913d11fdbe/1493450319649/Lookup%2Bat%2Bthe%2Bbottom%2Bof%2Bthe%2Bbowls.jpg BUSTER SIMPSON – Whole Flow - Whole Flow The highly polished stainless steel finish of Whole Flow permits viewers to see reflections of the water in each bowl. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59043e116a4963659238db1b/59043e12414fb57e0ff5db75/1493450283145/Full%2Bview.jpg BUSTER SIMPSON – Whole Flow - Whole Flow Simpson's long commitment to creating art that provides real assistance in moving toward sustainable cities is well represented in Whole Flow. Like much of his other work, this project literally reclaims water for functional purposes that would otherwise go down sewer pipes. Achieving such a seemingly simple goal required enormous coordination with the City of Pasadena, Korn Randolph Landscape Architects, the development team and Whole Foods, who must monitor the sculpture's water regularly to insure it stays within the legal constraints imposed by Pasadena. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59043e116a4963659238db1b/59043e1220099e9637405050/1493450352735/Do%2BNot%2BDrink%2Bsign.jpg BUSTER SIMPSON – Whole Flow - Whole Flow Whole Flow http://www.artinthepublicrealm.com/christian-moeller-1 daily 0.75 2020-09-02 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59043ee3cd0f68a240106afe/59043ee44402431ac4893ba7/1493450484212/Pedestrian%2Bat%2Bplay.jpg CHRISTIAN MOELLER – Mojo - Mojo Tracking cameras register movement of one pedestrian at a time and move the robotic arm to follow the direction on the sidewalk. At night a light is beamed into the path for a distance of approximately thirty feet in two directions. The light is programmed to stay within the boundaries of the sidewalk and the two solid brick walls behind it. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59043ee3cd0f68a240106afe/59043ee49de4bb35a6b5fae7/1493450495284/Daytime%2Bview.jpg CHRISTIAN MOELLER – Mojo - Mojo Robotic arm tracks pedestrian traffic during daytime and evening hours. http://www.artinthepublicrealm.com/bob-zoell daily 0.75 2020-09-02 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59043f60725e256add08ef69/59043f61e3df2899b173f25d/1493450633250/Elevator%2Blobby.jpg BOB ZOELL – Art Tile - Art Tile The elevator lobby is a suburban visual narrative of trees, dogs, birds and people, all within the glance of a crowd of smiley faces. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59043f60725e256add08ef69/59043f61ebbd1a679b6cc941/1493450611760/Columns.jpg BOB ZOELL – Art Tile - Art Tile All four sides of each of the 52 columns in the below-grade parking garage are clad in a punctuation mark, allowing for a easy identification within the "syntax" of the garage. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59043f60725e256add08ef69/59043f60e58c62030963f884/1493450651114/Automobile%2Bentrance.jpg BOB ZOELL – Art Tile - Art Tile Entrance into the garage takes visitors under this large 25 by 25 foot mural of standard symbols. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59043f60725e256add08ef69/59043f60c534a5c0bcd21203/1493450661060/Smiley%2Bwall.jpg BOB ZOELL – Art Tile - Art Tile Detail of wall with smiley face. http://www.artinthepublicrealm.com/steve-appleton daily 0.75 2020-09-02 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5904406c29687f041c9f36cc/5904406d4402431ac489447b/1493450909931/Projected%2Bimage.jpg STEVE APPLETON – Facetime - FaceTime The projector beam is calculated to pause on the disks, or occasionally be off disks and sometimes faces will be beamed onto the pavement. Coordination for this complex set of hardware and software elements integrated into the property occurred due to close work among the artist, developer, the construction company and Nakada + Partners Archtiects. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5904406c29687f041c9f36cc/5904406d59cc68420fc48031/1493450891746/Live%2Bfeed%2Band%2Barchived%2Bimages.jpg STEVE APPLETON – Facetime - FaceTime Face-recognition software allows only for the display of faces on the four foot diameter glass that serves as a rear-view projection screen. Images are captured from the camera mounted in the small element seen on the left side of the sculpture. Images are shown live within the sculpture's screen as they are captured and are simultaneously stored for later use as a projection on the wall. There are always two sets of faces being shown: live and stored. The two images creates an opportunity for immediate engagement on the ground plane as visitors see themselves in real time while other faces, most likely from people unknown to visitors, are projected on the wall. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5904406c29687f041c9f36cc/5904406d9de4bb35a6b6039b/1493450880115/Full%2Bview.jpg STEVE APPLETON – Facetime - FaceTime Two of the three physical elements of FaceTime are shown here: the sculpture with image capture and display functions and, the wall with raised disks onto which faces are projected. The third element (not illustrated) is a projector on a multi-dimensional rotation hinge, that beams images onto the wall. The projector is suspended just above the sculpture from the bottom of a pedestrian bridge. http://www.artinthepublicrealm.com/renee-green daily 0.75 2020-09-02 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59044189d1758ec4d74fbd73/590e2144bf629ae112b85dee/1494098269581/View%2Bof%2Bone%2Bof%2Bten%2Bsatellite%2Bcomponents.jpg RENEE GREEN – Code:Survey - Ten Past Five O'Clock https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59044189d1758ec4d74fbd73/590e2143ebbd1a0ad36a0c48/1494098264409/Full%2Bview%2Bof%2Bcentral%2Bcomponent.jpg RENEE GREEN – Code:Survey - Ten Past Five O'Clock Ten Past Five O'clock by Alan Rath is located in the fourth floor elevator lobby, a primary transfer lobby for elevators and entry point to the building's wellness center. Five aluminum cylinders each host one 30" arm that enacts a series of rotations and partial rotations, clockwise and counter-clockwise during the day. Working both in unison and more likely in separate patterns, the arms suggest rhythms and structure but don't easily reveal their program. Much like the hundreds of workers in the building, everyone is active, but what exactly each person is doing but not be immediately apparent to casual viewers. Ten smaller "satellite" cylinders are distributed throughout the fourth floor, acting independently from the "mother ship" but very much connected to it. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59044189d1758ec4d74fbd73/5904418c2994ca1b11cd62d7/1493451211296/Website%2Bfull%2Bimage%2Bof%2Bartwork.jpg RENEE GREEN – Code:Survey - Code:Survey https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59044189d1758ec4d74fbd73/5904418bd2b857ecc25bab07/1493451202490/Website.jpg RENEE GREEN – Code:Survey - Code:Survey The website for Code: Survey is available at: http://www.dot.ca.gov/dist07/code_survey/intro.htm https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59044189d1758ec4d74fbd73/590441895016e1dcad7a1504/1493451183270/Laminated%2Bglass%2Bdetail.jpg RENEE GREEN – Code:Survey - Code:Survey Code:Survey received a citation in 2006 as a noteworthy public art project from PAN (Public Art Network)/Americans for the Arts in their annual Year in Review. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59044189d1758ec4d74fbd73/59044189725e256add08fb66/1493451163103/Installed%2Bin%2BCal%2BTrans%2Bcafeteria.jpg RENEE GREEN – Code:Survey - Code:Survey Code:Survey by Reneé Green exists in several forms. Within the public cafeteria of the Caltrans building, a grid of 168 one-foot square etched glass panels are arranged. Each panel contains an image related to transportation and its role in the history of California. A corollary display of the panels occurs on the homepage of Caltrans' Los Angeles, where it serves as a portal to a series of links specific to each panel and image. Visitors can be taken to other images or to film and/or audio clips. Many of the links refer to episodes of social and cultural importance. http://www.artinthepublicrealm.com/jenny-holzer daily 0.75 2020-09-02 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5904490459cc68420fc4b387/59044908db29d650781e2119/1591760286116/unnamed.jpg JENNY HOLZER – For Pittsburgh The David L. Lawrence Convention Center was designed by Rafael Viñoly for a prominent site in downtown Pittsburgh along the Allegheny River. An ambitious public art program was funded by local foundations spearheaded by the Heinz Endowments. A jury of arts professionals guided the art program through the selection of artists and the review of concepts. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5904490459cc68420fc4b387/59044908d482e95dce5d77e5/1591760286113/unnamed-5.jpg JENNY HOLZER – For Pittsburgh - For Pittsburgh https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5904490459cc68420fc4b387/59044907b8a79b7adda13aa5/1591760286110/unnamed-4.jpg JENNY HOLZER – For Pittsburgh - For Pittsburgh https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5904490459cc68420fc4b387/59044907d2b857ecc25bd749/1591760286107/unnamed-3.jpg JENNY HOLZER – For Pittsburgh - For Pittsburgh https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5904490459cc68420fc4b387/590449051b631b48920f0998/1591760286094/unnamed-2.jpg JENNY HOLZER – For Pittsburgh - For Pittsburgh Holzer selected three books about Pittsburgh to be used as scrolling text, twenty four hours a day on the LED system. The books are From This Furnace by Thomas Bell, An American Childhood by Annie Dillard and Homewood Trilogy by John Edgar Wideman. For Pittsburgh functions well as a specific narrative artwork defined by the selected texts or as a purely abstract lightwork, joining a series of illuminated architectural features along the Allegheny River. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5904490459cc68420fc4b387/59044905bf629a577a8adc7c/1591760286099/unnamed-1.jpg JENNY HOLZER – For Pittsburgh - For Pittsburgh For Pittsburgh by Jenny Holzer uses a system of LEDs (light emitting diodes) attached to two edges of the roof just above the fourth floor outdoor corridor that connects the south side of the building to the riverside terrace. The roof of the east side of the artwork is 346 feet long supporting 768 LED tubes and the west side is 342 feet long supporting 760 LED tubes. The roof slopes down from a height of eighty feet to five feet. The scale and complexity of For Pittsburgh required uncommon coordination and cooperation between Holzer’s studio and Sunrise Systems (engineering and lighting), Rafael Viñoly Architects and the Sports and Exhibition Authority, all of whom worked over three years to bring the project to completion. Year in Review Citation, Best Public Art 2005, PAN (Public Art Network)/Americans for the Arts. http://www.artinthepublicrealm.com/tony-tasset-1 daily 0.75 2020-09-02 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/590449cee4fcb573ba3d5f16/590449d286e6c0c5239b6a64/1493453300302/Two%2Bbronze%2Btrees.jpg TONY TASSET – Magnolias for Pittsburgh - Magnolias for Pittsburgh Originally planned for a site at the Penn Avenue entrance into the hotel and convention center complex, the artwork was relocated when the design of the hotel absorbed the plaza site intended for the artwork. The SEA, working with the Pittsburgh Cultural Trust and Tasset, located a new site several blocks west of the original site on Penn Avenue, opposite a major fountain and plaza design by Louise Bourgeois, thus making for an especially rich and complex public art environment. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/590449cee4fcb573ba3d5f16/590449d14402431ac4897d55/1493453335758/Fabrication%2Bstudio.jpg TONY TASSET – Magnolias for Pittsburgh - Magnolias for Pittsburgh The trees were cast at the Polich Art Works in New York and moved to Tasset's studio in Chicago where each of the approximately 800 magnolia blossoms were hand painted. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/590449cee4fcb573ba3d5f16/590449d0d1758ec4d74fede4/1493453318573/Detail%2Bof%2Bhand%2Bpainted%2Bbronze%2Bblossom.jpg TONY TASSET – Magnolias for Pittsburgh - Magnolias for Pittsburgh https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/590449cee4fcb573ba3d5f16/590449cf1b10e3b407c1f00a/1493453314420/Bunch%2Bof%2Bbronze%2Bblossoms.jpg TONY TASSET – Magnolias for Pittsburgh - Magnolias for Pittsburgh https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/590449cee4fcb573ba3d5f16/590449cedb29d650781e2539/1493453310826/Bronze%2Btrees%2Bwith%2Byoung%2Bliving%2Btrees.jpg TONY TASSET – Magnolias for Pittsburgh - Magnolias for Pittsburgh Magnolias for Pittsburgh by Tony Tasset consists of two hand-painted life-size saucer magnolia trees in full spring bloom set within a grove of real saucer magnolias. The real trees and the bronze trees are in harmony only several weeks of the year, otherwise, there is a startling difference between the two, most heightened during winter months, when the real trees are bare of all leaves and the two bronze trees remain in robust and pristine spring bloom. Year in Review Citation, Best Public Art 2006, PAN (Public Art Network)/Americans for the Arts. http://www.artinthepublicrealm.com/roman-de-salvo daily 0.75 2020-09-02 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59044abc893fc052556a05dc/59044ac0d1758ec4d74ff2a8/1493453611389/Wagonwheel.jpg ROMAN DE SALVO – Nexus Eucalyptus - Nexus Eucalyptus https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59044abc893fc052556a05dc/59044abed2b857ecc25be07d/1493453622721/View%2Blooking%2Bup%2Bfrom%2Bplaza.jpg ROMAN DE SALVO – Nexus Eucalyptus - Nexus Eucalyptus De Salvo worked with a professional arborist to identify fifteen standing dead eucalyptus trees to be harvested and brought to his studio where he planed trunks and branches into longitudinal sections. Sections were laid out on the studio floor and adjusted until the final composition was found. Specially engineered joint plates were made and custom fitted for connections between forty-seven planed pieces of eucalyptus trees. Cables were made to take into account the position of each section in relationship to the sloping roof of the trellis, hence the need to calibrate each cable length individually for its specific attachment point both to the trellis and the wood. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59044abc893fc052556a05dc/59044abed1758ec4d74ff2a6/1493453605612/View%2Bfrom%2BFourth%2BFloor%2Bbalcony.jpg ROMAN DE SALVO – Nexus Eucalyptus - Nexus Eucalyptus https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59044abc893fc052556a05dc/59044abde6f2e142b49785fb/1493453594018/Installation.jpg ROMAN DE SALVO – Nexus Eucalyptus - Nexus Eucalyptus Nexus Eucalyptus by Roman de Salvo measures 125 by 50 feet and floats 30 feet above the outdoor courtyard in the Caltrans District 11 Headquarters in San Diego. The artwork evokes a network and circulatory system appropriate to the mission of Caltrans: to manage and expedite the movement of people and goods throughout the State. De Salvo’s response is a complexly conceived and executedsculpture that reminds viewers about the centrality of engineering and construction finesse in relationship to Caltrans. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59044abc893fc052556a05dc/59044abd725e256add0931e1/1493453643263/Gear.jpg ROMAN DE SALVO – Nexus Eucalyptus - Nexus Eucalyptus Rodoviaria by Einar and Jamex de la Torre consists of five 50" diameter wheels in carved stone with insets of cast glass for the low wall in front of the Caltrans facility on Taylor Street, adjacent to historic Old Town. The circular forms represent a range of concepts, from a gear to a wagon wheel. Cast insets contain a variety of imagery from an Aztec calendar to toys and other contemporary consumer items. The scale is appropriate to both the pedestrian and vehicular traffic that occurs on busy Taylor St. Pedestrians can view the intricate carving and glass imagery while people in vehicles can appreciate the large forms and the color glass, whether seen in daylight or as lit at night. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59044abc893fc052556a05dc/59044abd29687f041c9f73ee/1493453632074/Connecting%2Bsections%2Bduring%2Binstallation.jpg ROMAN DE SALVO – Nexus Eucalyptus - Nexus Eucalyptus De Salvo and his engineer, working with Carrier Johnson Architects and the Caltrans team, developed a strategy that provided for a fully successful installation under very challenging conditions . De Salvo's careful assembly of the sculpture in his studio proved the necessary step to assure the successful installation. http://www.artinthepublicrealm.com/meg-cranston daily 0.75 2020-09-02 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59044bcb4402431ac48986d8/59044bcbb8a79b7adda148c4/1493453777897/Detail%2Bof%2Bhand%2Bpainted%2Bbronze%2Bblossom.jpg MEG CRANSTON – Orange Grove - Orange Tree Grove https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59044bcb4402431ac48986d8/59044bcb15d5db2857d0818a/1493453780423/Full%2Bview%2Bwithin%2Batrium.jpg MEG CRANSTON – Orange Grove - Orange Tree Grove http://www.artinthepublicrealm.com/ann-chamberlain daily 0.75 2021-02-13 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59044c676a4963659239302c/5905928ad1758ec4d75bc0c3/1493537458698/Mural%2Bbehind%2BJustices%27%2Bbench.jpg MULTIPLE ARTISTS: ANN CHAMBERLAIN, WILLARD DIXON, AND JAMES CARPENTER - Eastern Sierras in Fall Willard Dixon's mural, Eastern Sierras in Fall was painted in the niche in the Supreme Court where an original mural was painted in 1924. That mural, The Commonwealth by Arthur F. Mathews, was lost in a restoration of the Court Chambers in the 1960s. Dixon painted the 12' x 35' mural in his studio in Marin County and it was subsequently installed above the Justices' bench. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59044c676a4963659239302c/590592896b8f5b60838db789/1493537492817/Looking%2Bupwards%2Bwithin%2Bsculpture.jpg MULTIPLE ARTISTS: ANN CHAMBERLAIN, WILLARD DIXON, AND JAMES CARPENTER - Light Tower https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59044c676a4963659239302c/590592892994ca1b11d96ac1/1493537479363/Full%2Bview%2Bwithin%2Batrium.jpg MULTIPLE ARTISTS: ANN CHAMBERLAIN, WILLARD DIXON, AND JAMES CARPENTER - Light Tower In the soaring atrium space connecting the historic building to the new building, Light Tower by James Carpenter is both transparent and highly visible. It reaches to the sky like a giant sequoia and at its base offers seating. The sculpture is a tribute to engineering and aesthetic fineese, an elegant addition to a building that houses that State Supreme Court. Coordinated with the building architect, Skidmore, Owings, Merrill with Craig Hartman as principal. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59044c676a4963659239302c/59044c673a04117659bf1494/1493453981782/Light%2BPortraits%2Band%2BArchive%2BVitrine.jpg MULTIPLE ARTISTS: ANN CHAMBERLAIN, WILLARD DIXON, AND JAMES CARPENTER - Archive Room An arched-shaped vitrine (the same arch as that of the Justices' Bench) displays changing exhibits from the Supreme Court archive. Names of every case decided by the Supreme Court are etched into the bottom glass of the vitrine. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59044c676a4963659239302c/59044c676b8f5b608381d4d6/1493453962160/Image%2BWell%2Bdetail.jpg MULTIPLE ARTISTS: ANN CHAMBERLAIN, WILLARD DIXON, AND JAMES CARPENTER - Archive Room Over three hundred images of California history are stored in the computer lodged within this sculptural well. Sequences pertinent to various holidays (Labor Day, Mother's Day, etc) and special times of the year (seasonal changes, days of the week, etc) display relevant images on the screen. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59044c676a4963659239302c/59044c67d2b857ecc25be948/1493537439933/Image%2BWell%2Band%2BLight%2BPortraits.jpg MULTIPLE ARTISTS: ANN CHAMBERLAIN, WILLARD DIXON, AND JAMES CARPENTER - Archive Room Archive Lobby by Ann Chamberlain, is located within the Earl Warren Building, built in 1922 and listed in the National Register of Historic Places. Chamberlain was able to etch words into the limestone walls and install several sculptural elements. Her theme is the history of the California Supreme Court, whose chamber is exactly four floors above the Archive Lobby. Working with the archive of the State of California in Sacramento and that of the Court itself in San Francisco, Chamberlain's multiple elements bring real faces to the abstraction of justice. In this image, faces culled from the State Archive show the omnipresence of diversity that characterize the Golden State, in these projections onto the limestone walls. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/59044c676a4963659239302c/59044c67414fb57e0ff62e2b/1493453948195/Archive%2BVitrine%2Bdetail.jpg MULTIPLE ARTISTS: ANN CHAMBERLAIN, WILLARD DIXON, AND JAMES CARPENTER - Archive Room http://www.artinthepublicrealm.com/nam-june-paik daily 0.75 2017-11-02 http://www.artinthepublicrealm.com/multiple-artists-koll-anaheim-center daily 0.75 2020-09-02 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5905948c17bffc3ea34e5232/5905948e59cc68420fd081ad/1494096672915/Video%2BBird%2BHouses.jpg MULTIPLE ARTISTS – KOLL ANAHEIM CENTER - Koll Anaheim Center Two sets of these back-to-back birdhouse video displays are placed on W. Center St. Promenade. Originally intended by Daniel Martinez to be connected to the City of Anaheim's traffic management center to display current traffic conditions, the concept was enlarged to include display possibilities for community announcements, like a digital bulletin board. Working to entice pedestrian activities on the two blocks west of City Hall, the three artists created artworks that reward close contacts and that invite some form of participation. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5905948c17bffc3ea34e5232/5905948e3a04117659cb1b96/1493538010304/Three-year%2Bold%2BExchanger%2BFountain.jpg MULTIPLE ARTISTS – KOLL ANAHEIM CENTER - Koll Anaheim Center https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5905948c17bffc3ea34e5232/5905948ee4fcb573ba4947e7/1493538085125/Planters.jpg MULTIPLE ARTISTS – KOLL ANAHEIM CENTER - Koll Anaheim Center One of Anaheim's early industries was commercial nurseries, commemorated in Buster Simpson's elegant variation of the standard planter, here rendered in redwood, pine and bronze. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5905948c17bffc3ea34e5232/5905948eb3db2ba7ea02b4be/1493538121182/Planters-1.jpg MULTIPLE ARTISTS – KOLL ANAHEIM CENTER - Koll Anaheim Center Nagasawa created two large scaled planters , cast in concrete from handmade clay forms. The forms are accurate representations of the Gabrieleño baskets, which Nagasawa researched in the nearby Bower Museum, with its noted and large collection of native American artifacts. Nagasawa originally placed native plants in the baskets but eventually the plant material was substituted out for more familiar landscaping plants.     https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5905948c17bffc3ea34e5232/5905948e1b631b48921aefaf/1493538101897/Outdoor%2BRoom.jpg MULTIPLE ARTISTS – KOLL ANAHEIM CENTER - Koll Anaheim Center Buster Simpson's Outdoor Room sits just beyond the entrance to City Hall Annex. The benches have backs that pivot allowing sitting in two directions. Each end of the room contains one low pedestal inviting oration. The idea of ideas having two sides, of two major political parties, of two-points of view each worthy of a public hearing is represented in the composition of this inviting public space. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5905948c17bffc3ea34e5232/5905948d197aeab0a1ee2079/1493538065396/Just%2Bcompleted%2BExchanger%2BFountain.jpg MULTIPLE ARTISTS – KOLL ANAHEIM CENTER - Koll Anaheim Center Exchanger Fountain by Buster Simpson is an early triumph of art and sustainability. The drinking fountain delivers cool water naturally, as the unused water pours down the fountain's soapstone base into which a copper coil has been set into a spiral channel. As the unused water evaporates it naturally cools water in the copper coil. In most fountains unused water goes directly into sewer lines. Water that reaches the bottom goes directly into the tree well thus watering the tree in an economic way. The inspiration for the Exchanger Fountain came from the early Anaheim settlers, who brought willow branches from the nearby Santa Ana River to define their lots (on the site of Koll Anaheim Center). Unfortunately, the willow branches sprouted sucking liquid from the water table necessitating their removal. Simpson's fountain begins with a willow branch taken from the Santa Fe River and over time it become a large tree, but will not be removed. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5905948c17bffc3ea34e5232/5905948dbe659450876762fe/1493538021032/Hammer%2BClock.jpg MULTIPLE ARTISTS – KOLL ANAHEIM CENTER - Koll Anaheim Center Hammer Clock by Daniel Martinez is an iconic image for Koll Anaheim Center. The image of the hammer was selected as a symbol of work, a particularly apt image for Anaheim as it prides itself on its work-ethic and continual efforts of rebuilding and growth. The face of the clock shows a global map, putting downtown Anaheim within a global context. The hammer is constructed of cast concrete and stainless steel. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5905948c17bffc3ea34e5232/5905948d725e256add150da8/1493538110688/Coyote%2BBench.jpg MULTIPLE ARTISTS – KOLL ANAHEIM CENTER - Koll Anaheim Center Coyote Bench by Nobi Nagasawa is a hand crafted poured-concrete and river rock sculpture. The Gabrieleño people created a myth about the coyote and its seeking of water. That myth is written on the back of the bench, strategically placed near the Exchanger Fountain, as if the forces within the bench will come to the water source of the myth. The phonetic pronunciation of the Gabrieleño, YTUR, is a strong visual element within the sculpture.   https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5905948c17bffc3ea34e5232/5905948d9de4bb35a6c20259/1493538029640/A-Bench.jpg MULTIPLE ARTISTS – KOLL ANAHEIM CENTER - Koll Anaheim Center A Bench by Buster Simpson is one of many seating elements designed by Simpson and Nobi Nagasawa for Koll Anaheim Center. Working with the landscape designers from EDAW and SWA, the artists selected various elements from the landscape plans that they could design, with seating being a prime example. A Bench, dedicated to Anaheim's favorite letter, is made from debris found on the site from the demolition of older buildings. Simpson brought the material to his Seattle studio and used it to cast terrazzo frames for the benches, which were completed with the use of recycled redwood. http://www.artinthepublicrealm.com/contact daily 0.75 2017-05-03 http://www.artinthepublicrealm.com/janet-echelmen-dream-catcher daily 0.75 2020-02-12 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/599a0ee6db29d6aa13e7100e/599a0fd0ebbd1ad8ed01f94c/1506234872205/unnamed.jpg JANET ECHELMEN – Dream Catcher The highly dynamic environment of the Sunset Strip, including the on-site presence of giant advertising graphics, demands a work of equal rigor and commanding presence. With a height of 90 feet and a width of 70 feet, Dream Catcher is a large visual presence, tempered by its transparency. In many ways the Sunset Strip is most alive at night, when dynamic lighting spans the mile and one half reknown boulevard. Dream Catcher has a complex LED lighting system that can be programmed into an infinite array of chromatic sequences. Here the multi-colored sculpture clearly shows its intimate relationship with its white structural supporting cables. Photo courtesy of: Nicole Wang/SOM Engineering, Courtesy Echelman Studio https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/599a0ee6db29d6aa13e7100e/599a0fb3f14aa1fb277f7bd0/1506234933722/Echelman_6.jpg JANET ECHELMEN – Dream Catcher The sculpture is being installed in multiple stages and here the soft and unorganized masses of net are about to be pulled into their final shape. The attachment point on the right of the image shows the structural net and its blue cable connector being tightened into the attachment hardware embedded into the concrete floor. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/599a0ee6db29d6aa13e7100e/599a0fb19f745608b16f1f04/1506234910495/Echelman_5.JPG JANET ECHELMEN – Dream Catcher This view is from within a guest room on a higher floor and illustrates one of Dream Catcher’s most outstanding quality of being both transparent and volumetric. It holds a vast amount of space at the same time viewers can see through it to the Los Angeles basin beyond. Photo courtesy of: Nicole Wang/SOM Engineering, Courtesy Echelman Studio https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/599a0ee6db29d6aa13e7100e/599a0fa615d5db7a7d63a7e2/1506234893119/Echelman_4.JPG JANET ECHELMEN – Dream Catcher In this image the sculpture becomes a monochromatic deep magenta and as viewed from the motor court level of the primary reception area, one story down from the ground plane of Sunset Boulevard. The lighting program was inspired by cycles of REM sleep that an individual experiences during a night's rest. Photo courtesy of: Nicole Wang/SOM Engineering, Courtesy Echelman Studio https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/599a0ee6db29d6aa13e7100e/599a0f98f7e0abf8e3233b3f/1506234825028/Echelman_2%26homepage.jpg JANET ECHELMEN – Dream Catcher Dream Catcher offers a unique response to the site’s formal parameters. Situated between the two ten-story buildings Echelman used attachment points on four different levels allowing for the complexity of the sculpture. On the left of this image one can see an attachment point into the eighth floor concrete slab. The white cables provide the sculpture’s support on all four levels and the colored sculptural forms are suspended from and within them. The color palette of Dream Catrcher changes drastically even in daylight depending upon the degree of cloud cover and the position of the sun. Photo courtesy of: Nicole Wang/SOM Engineering, Courtesy Echelman Studio https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/599a0ee6db29d6aa13e7100e/599a0f9859cc681f5ef74e37/1506234779710/Echelman_1_index.JPG JANET ECHELMEN – Dream Catcher This daytime image is taken from the motor court entrance to the hotel approximately 120 feet below the top of the sculpture. From this perspective the sculpture is radically different than seen laterally at street level. Here viewers have a worm’s eye view up and through the complex structure and can understand how the composition spins out from several organizing cores. An opposing perspective looking down is possible to enjoy from the 10th floor lounge. Photo courtesy of: Nicole Wang/SOM Engineering, Courtesy Echelman Studio http://www.artinthepublicrealm.com/monique-van-genderen-under-the-sun daily 0.75 2018-06-03 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/599a10d6bebafb029c84e4e6/599a117dcd39c36f1e13f1e7/1506235265068/MVG_index%264.jpg MONIQUE VAN GENDEREN – Under the Sun The painted surface is where the artist’s greatest strength lay – in the gorgeous painterly passages crafted by hand in her studio using very durable sign paints. Here the many application methods of painting are apparent as well as the play of transparency to denser surfaces. It is rare for a painted artwork in the public realm to achieve this degree of surface complexity and sheer visual pleasure. Photo courtesy of: Robert Wedemeyer https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/599a10d6bebafb029c84e4e6/599a117af7e0abf8e3235357/1506235194921/MVG_3+studio.jpg MONIQUE VAN GENDEREN – Under the Sun It is disconcerting to see the four panels Under the Sun arranged in the artist’s studio as a logical composition after seeing their permanent placement outside on King’s Road, West Hollywood. The finished artwork has a convincing look of being a work in-progress, with the proper alignment of the panels yet to happen. Van Genderen’s strategy is part sly and wholly playful bringing an unexpected element to the artwork that hopefully will engage viewers in questioning the work and their expectations for what a finished artwork can be. Photo courtesy of: Robert Wedemeyer https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/599a10d6bebafb029c84e4e6/599a115f197aeae6316d39be/1506235239338/MVG_2.jpeg MONIQUE VAN GENDEREN – Under the Sun Van Genderen’s painting practice frequently extends the notion of what a support surface can be and how it can be situated within architecture. In Under the Sun van Genderen sabotages our expectation for an outdoor painting or mural by turning the painting into a work that spans two and three dimensions. One views the wall facing west, the sightline for viewing the sunset. Van Genderen’s narrative for Under the Sun is the idea of the sunset and the glorious colors associated with southern California skies at twilight, just as the sun sets behind the Pacific Ocean. Photo courtesy of: Robert Wedemeyer https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/599a10d6bebafb029c84e4e6/599a115eff7c502eb49f3a2a/1506235084760/MVG_1.jpeg MONIQUE VAN GENDEREN – Under the Sun Monique van Genderen’s Under the Sun performs a dual role between painting and sculpture and between a fixed state versus a state in flux. Four hand-painted panels, each nine by four feet, are sited on a ledge just a foot taller than the sidewalk on Kings Road, a busy side street at the intersection of Santa Monica Blvd., West Hollywood’s main drag. One of the panels is installed flush to the wall, in the conventional and expected manner of hanging a painting for viewing, either in a public or private setting. Van Genderen plays with our expectations by leaving the other three panels “resting” on the ledge, as if they are waiting to be formally installed. It is as though we are waiting for the installation to be completed rather than accepting it’s “in process” state as the finished artwork. Photo courtesy of: Robert Wedemeyer http://www.artinthepublicrealm.com/michael-mcmillen-the-lot daily 0.75 2020-09-02 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5aff838b575d1f8e6eeed08f/5aff84aa0e2e7216af93898f/1526697706262/Back+Lot+6.jpg MICHAEL MCMILLEN – The Lot The scene is set with the writer’s typewriter and all manner of collected materials, each meticulously recreated by McMillen. The complex detail that one sees on the two flats in the plaza is complemented by the complexity and density of materials found within the garage. Visitors have ample opportunity to let their imagination wonder as their eyes jump from the typewriter to old signs, tools, masks and what McMillen refers to as the Optitronic Visualizer, essentially an electronic screen with a newly made movie by McMillen, conceived and worked to appear as old and used as the flats outside. All the objects display McMillen’s brilliance at transformation and fooling the eye, for as old as everything looks, the date of fabrication is 2018. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5aff838b575d1f8e6eeed08f/5aff84a903ce6487dbbbf362/1526697973034/Back+Lot+5.jpg MICHAEL MCMILLEN – The Lot Visitors can only access the garage visually through the three viewing portals. The installation evokes the world inside a writer’s head working on a film noir screenplay. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5aff838b575d1f8e6eeed08f/5aff84a688251b937614e36d/1526695185235/Back+Lot+4.jpeg MICHAEL MCMILLEN – The Lot The tilted angles of each sculpture are easily seen here in this image taken during installation. The derrick is especially angled as it leans out toward the street. The full ensemble of elements suggests a narrative without specificity, a film yet to be made or watched. Back Lot offers a work-in-progress in which the imagination of the viewer is welcome to roam. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5aff838b575d1f8e6eeed08f/5aff84a588251b937614e324/1526695162489/Back+Lot+3.jpg MICHAEL MCMILLEN – The Lot This close-up of the corner flat shows the degree of architectural detail McMillen has recreated. McMillen’s highly detailed flats refer to early 20th century industrial buildings that he observed in the film “Little Miss Rooney” produced by Mary Pickford at The Lot in 1925. The sculptured flats were first made in wood by McMillen then made into various stages of molds by Pour House Foundry and ultimately cast in steel. McMillen hand painted the finish. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5aff838b575d1f8e6eeed08f/5aff84a10e2e7216af938871/1526695153999/Back+Lot+2.jpg MICHAEL MCMILLEN – The Lot The sculptures descend from the tallest on the west end of the plaza (the camera) to the shortest on the east end (the apple crate). The sightline from the tallest (the camera at 14”) to the shortest directs visitors’ attention to the three viewing portals set into the garage door. The apple crate is a typical utilitarian object used by grips to store cables and other materials as well as provide easy seating and/or height assistance. The derrick with the red light, like the two flats that flank it, is placed at an angle, creating a sense of dislocation and dynamism that is reminiscent of the sense of wonder that surrounds the production of movies. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5aff838b575d1f8e6eeed08f/5aff84a1f950b7644aacdaa4/1528064216336/Back+Lot+1.png MICHAEL MCMILLEN – The Lot Photo credit: Courtesy of L.A. Louver, Venice, CA. Back Lot occupies a small set-back of the historic wall that separates The Lot from Santa Monica Blvd. McMillen has sited five sculptures within the 50 x 11 foot space and he has also created an interior installation within an adjacent garage (once used my Howard Hughes when he owned the studio) that is visible to the public from three viewing devices placed into the garage door. Back Lot evokes the process of movie making with the plaza dominated by a larger-than-life movie camera overlooking a series of flats and props. Flats are two- dimensional backdrops routinely used on movie sets to simulate actual objects and space. http://www.artinthepublicrealm.com/christian-moeller-bobble daily 0.75 2018-06-03 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5b0f75a82b6a28f41d2417d5/5b0f76a91ae6cfb8a045d081/1528064414583/Bobble+4+copy.jpg CHRISTIAN MOELLER – Bobble https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5b0f75a82b6a28f41d2417d5/5b0f75f4aa4a99692dd4d124/1528064544953/Bobble+2+photo+John+Baker+.jpg CHRISTIAN MOELLER – Bobble Inspired by floral motifs, the art work appears as a large freestanding figure - playful and open for multiple readings. Anthropomorphic to a degree, it contains a kinetic element that is animated by wind and similar in its motion to toys like the bobble head dog. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5b0f75a82b6a28f41d2417d5/5b0f75f4758d464ac1bb1d43/1528064464098/Bobble+1+photo%3A+John+Baker.jpg CHRISTIAN MOELLER – Bobble Bobble stands 16’ feet tall and is constructed of fiberglass with a painted finish. The bobbing head, reminiscent of those on automobile dashboard figurines and inexpensive toys, is activated through the power of wind. Bobble could be considered a sentry, standing in place like much traditional figurative sculpture, but here there is a humorous and inviting take on the role of sculpture, one that respects craftsmanship and narrative and also cultivates a sense of playfulness. http://www.artinthepublicrealm.com/todd-gray-untitled daily 0.75 2020-09-02 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5ec020368ea60f2f69189bc3/5ec0807401a9c373ecda8c77/1589674118522/Gray_Image+%233b.jpg TODD GRAY – Untitled This image is the original design that was subsequently greatly enlarged and baked onto the three steel panels that form the artwork. As in so much public art today the challenge of scaling up to final size is managed exclusively by digital technology. Gray’s visits to the artwork fabricator, KVO Industries in Santa Rosa, California, were opportunities for him to confirm that the colors to be printed were exactly as he wished them to be and to confirm the relationship ofeach of three images in relationship to the edges of the panels as he exactly planned. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5ec020368ea60f2f69189bc3/5ec020d00bcf3d6a679347e4/1589669502300/Gray_Image_%25231.jpg TODD GRAY – Untitled Trees and botanical specimens are prominent features in much of Todd Gray’s work and are used for both allegorical and literal purposes. Gray’s research into narrative possibilities crosses time and bridges historical moments. His project for Midtown Crossing took on a personal aspect as his childhood home is nearby to the project site. Gray knows and has a strong feeling for this neighborhood’s sights, sounds and smells. After researching the area for the project Gray focused on the trees which became the subject for his artwork. Gray’s 40’ high by 13’ wide photographic mural, composed of baked porcelain on steel panels, is a poetic response to the several of the mature trees that are representative of the midtown neighborhood. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5ec020368ea60f2f69189bc3/5ec020cf80b6627d6b44b691/1589669517201/Gray_Image+%232.jpg TODD GRAY – Untitled Once Gray determined the specific photographic images he wanted to include in the artwork he manipulated them on the computer, changing colors and scale. The top image, an ubiquitous palm tree, is inverted so that the palm appears upside down, floating into a blue sky without the restriction of gravity. The middle image is almost entirely abstract, greatly removed from the botanical image that was its original form. The bottom image is a close up of a deciduous tree, seen against a yellow ground. Each of the three colors work within the hues of the primary palette and each has been changed to appear synthetic, a complement to the narrative of nature implied by the imagery of trees. http://www.artinthepublicrealm.com/thad-mosley-three-rivers-bench daily 0.75 2020-06-10 https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5ee0559e635f3e051381040b/5ee058e7476aed1a04344e06/1591761170903/MoselyBench01_photo_x4b.jpg THAD MOSLEY – Three Rivers Bench Three Rivers Bench is located on the second floor of the David L. Lawrence Convention Center, in a large lobby area adjacent to meeting rooms on one side and unobstructed views of the Allegheny River on the other side. As this image of the sculpture shows, two linear forms meet at one end to form a single form. This is a literal representation of the Allegheny and Monongahela Rivers joining together at a site very near the convention center to form the Ohio River. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5ee0559e635f3e051381040b/5ee056d13897a829757c5ac7/1591760847819/Three%2520Rivers%2520Bench%252C%2520Thad%2520Mosley%252C%2520black%2520walnut_photo_x4.jpg THAD MOSLEY – Three Rivers Bench This close-up photo shows the carving marks resulting from the handwork that went into the creation of Three Rivers Bench. Unlike most public art, the entire fabrication process took place in Mosley’s studio with his own hands. Wood is not a common material for public art due to its vulnerability to climate and vandalism given that its surface is softer than metal, a more common material for public sculpture. The interior location within the convention center made the use of black walnut a feasible material and it is standing the test of time well. https://static1.squarespace.com/static/56ca8b092eeb81462d1c3a78/5ee0559e635f3e051381040b/5ee056d1eb443161140877b7/1591760869602/Mosley%2520bench%25203_photo_x4.jpg THAD MOSLEY – Three Rivers Bench Mosley selected black walnut as the material for the Three Rivers Bench. Black walnut trees are native to western Pennsylvania and made an especially fitting material for Mosley to use. He found a tree large enough to provide for the sculpture’s sixteen-foot length and spent the better part of a year creating the form that greets the public at the convention center.