Number one, McHenry County from 2003 by Lars-Birger Sponberg. While this
painting is titled McHenry County, the County just to the west of us, Sponberg's
Midwest landscapes aren't necessarily real places. Sponberg takes
inspiration from drives through the countryside with his wife Dallas, but
he's not simply reproducing what he sees. I spoke with Sponberg in his home in
June 2017. He told me his paintings are made up of "a combination of photographs
maybe, some abstract ideas. I composed when I do painting, I composed the
painting to make a painting, not to imitate a certain place. Sponberg was
born in 1919. "Born in Värnamo, Sweden, which is southern part of Sweden and
our family migrated in 1930." He's lived in Deerfield for over 60 years. In the
late 1930s he went to the Art Institute of Chicago. In his Midwest landscapes
Sponberg hopes to illuminate what he calls the significance of the ordinary.
"I think of the ordinary as being the stabilizing thing in our lives
the things by which we measure most, not only events, but even our thinking. We
measured it against what we consider to be norm. Number 2, Prairie Plants from
2010 by artist Janet Austin. This for paneled mosaic depicts an above and
below-ground cross-section of the local area plant and insect life. It combines
traditional flat mosaic tiles with hand-carved ceramic stoneware. Evanston
based artist Janet Austin often works in sculpture and mosaic depicting the
natural world, focusing particularly on species that are considered undesirable
by humans but that are essential to our ecosystem, like the snails arms
insects featured prominently. Austin hopes to show the importance of healthy
soil and also identify some local plants. Number 3, Energy Form by Robert
Winslow. This abstract sculpture is made up of a
large form and a smaller form tucked beneath it, both standing on three points.
I spoke with Winslow by phone (he currently lives in Michigan) in May 2017
and asked him what his sculpture represents if anything. "This is like an
organic, kind of like molecular biology and stuff random how things grow
it's part of a series of energy forms that Winslow made, the largest of which
is the massive Energy Form commissioned for the corporate offices
of McDonald's in Oak Brook, Illinois. That large work was something of a turning
point in Winslow's career. Energy Form was donated in loving memory of Fred and
Patty Turner. Fred Turner started as a fry cook at McDonald's and eventually
was the chairman and CEO of the McDonald's Corporation. Winslow went on
to develop a close relationship with the Turner family. The family became his
patrons, including his works in their backyard sculpture garden in their
Deerfield home. "These were the greatest people you, I mean they were really fine
people. I loved them." Number four. Nature Morte by Javier Vilató. This 1953
cubist still-life depicts a carafe, a glass, a plate, and two green apples. While
presenting these objects in a characteristically flat and diagrammatic
way, Vilató uses color to suggest depth and space. Look for the brown shadow cast
on the table by the fruit or the highlights of green reflecting the
apples off the edges of the carafe. If it reminds you of a Picasso, that's because
it's by Catalan artist Javier Vilató, Picasso's nephew. He was very close to
Picasso, often described as his brother best friend or
as the artistic son Picasso never had. Javier Vilató lived in the family home
in Barcelona and grew up surrounded by his uncle's art, one of the few people
exposed to Picasso's work so early. Javier's mother Lola was a model for
many early Picasso paintings. Imagine seeing your mother depicted in all sorts
of styles by your uncle, a master craftsman and painter, pushing the
boundaries of art. Though Vilató had a successful career in France and Spain, in
later years he was somewhat wary of living under Picasso's shadow.
Nevertheless, critics do see him as developing his own style. This painting
was donated to the library by Nathan Cummings when the library was built in
1971. Nathan Cummings was a businessman and philanthropist who founded
Consolidated Foods, which later became the Sara Lee corporation. Cummings also
amassed one of the world's largest most important art collections. Despite never
completing high school, Nathan Cummings had an instinct for business and for
collecting art, and he counted many artists, celebrities, and dignitaries
among his close friends, including Pablo Picasso
Number five, Agrippine, from 1968 by Antoine Poncet. This large Carrara
marble sculpture, Agrippine, stands on three points and features an almost
mobius strip-like swirl that unwinds from the center. Like many of Antoine
Poncet's sculptures, it features a hole or open space in an effort to create a
harmonious form, an idea he has compared to a rest or pause in music. French
sculptor Antoine Poncet has had a long and celebrated career as an abstract
sculptor, with pieces in many public parks, museums, and institutions around
the world. He was born in 1928, and is still working today.
Like other post-war modernist sculptors, his goal is to achieve a purity of form
that can speak across languages and cultures. Poncet's smooth, polished marble
sculptures are inspired both by forms in nature--think bone or muscle maybe--and
abstract dream forms. He was the only student of the surrealist Hans Arp, an
important artist known as the father of Dadaism. Agrippine is part of a
significant breakthrough collection of work Poncet made in the late 1960s after
visiting the marble quarry at Carrara, Italy. Poncet's friend, art collector and
businessman Nathan Cummings, funded the project, writing to Poncet, "I will be your
Medici." In five years, Poncet made 18 monumental works, each weighing between
three and seven tons. Nathan Cummings featured Poncet's sculptures in shows of
his famous art collection at the National Gallery in Washington DC, the
Metropolitan Museum in New York, and the Art Institute of Chicago in the 1970s.
Three of the sculptures made it to one of Cummings as businesses the kitchens
of Sara Lee plant in Deerfield in 1982. When the factory closed in 1990, the
village asked if Sara Lee would donate the sculptures. Agrippine was placed in
front of the library in 1991. Number six, Altissimo. Also from 1968, also by Antoine Poncet.
Named after Altissimo, the type of pure white marble Michelangelo used for his
sculptures, this sculpture has been particularly noted by critics for giving
the illusion of being light and airy despite its weight. Like Agrippine, it
contains an open space as a kind of visual rest. This sculpture also
emphasizes another musical characteristic of many Poncet sculptures.
Look how the edges taper off gracefully, dissipating slowly like a note in music.
Poncet said of his work that he eschews the, "drama of shadows," preferring a
more open accessible form that doesn't hide from the viewer. Poncet's sculptures
reward viewing from different vantage points. Altissimo was also one of the
Ponce's sculptures originally erected at the Kitchens of Sara Lee in 1982 and has
moved the most out of all the sculptures. It was placed at the corner of Waukegan
in Deerfield Road in 1991 before moving to the Public Works building. It finally
found a home in front of Village Hall, where the Deerfield Fine Arts Commission
decided to create a line of sculptures that starts at the library and continues
on through the Village Hall lawn. Number seven, Generations. From 2007 by
artist Mary Block. This massive concrete sculpture depicts a mother and father
looking at each other with their children wrapped around them. The
interesting way they twist and lean towards each other was explained by Mary
Block when I spoke with her in our studio in May 2017. "So there was a house
a couple blocks from me that had some type of a tree that had these very
gnarly bendy, they were smooth kind of bark, but very gnarly tall slender trunks
to them and actually I was looking at his yard thinking oh my gosh those could
be family groupings. So what you have actually are two tree trunks that turned
into families and that is reason for the interplay for them going back and forth
if you look at them spatially because that's exactly how the trunks were going
there they were going in different directions depending on how the wind had caught
them." Block's work was selected blind without the knowledge that Block
actually grew up in Deerfield. "What they were interested in was a sculpture that
fits the community, but see. I had the edge because I grew up in the
community and I knew what the community was about. So I said to them kind of
well, Deerfield it's about families, everything in Deerfield is about family
that is Deerfield. It's the epitome of family! While her work is figurative, Block
says her work is primarily about space a concern she shares with abstract artists
"Um, when I look at my work as a whole, I don't do figures that are, I do figures
that are recognizable as fingers or animals that are recognizable animals...
I'm interested in the lyricism of that. I'm less interested in the
representationalism of that. With public work in many places around Chicagoland,
Block is perhaps best known in the Northern suburbs as the sculptor of the
young man standing on a swing at the Northeast corner of Central Avenue and
Green Bay Road in Highland Park.
Number eight, Uncorsubtible from 1968, by Antoine Poncet. Our last Poncet
sculpture uses wordplay as Poncet does in many of
his titles. In this case the word incorruptible is itself corrupted,
Uncorsuptible. This abstract form evokes perhaps an ear or a parent holding a
child or just a fascinating form. This sculpture was also originally part of
the Nathan Cummings collection. Nathan Cummings' lifelong devotion to
Antoine Poncet has been cited as "an indication of the breadth of his taste
and his willingness to go beyond the advice of art experts, many of whom
consider Poncet to be a minor follower of Arp." This critical opinion may be due in
part to Ponce's age; he is much younger than many of the modernist sculptors
with which his work was exhibited. But Nathan Cummings was truly devoted to
Poncet's work. Case in point, Cummings' is 80th birthday party was
written up in the New York Times as a social event of the season. Attended by
artists, socialites, ambassadors, and politicians. As part of the festivities,
Cummings' his friend Bob Hope popped out of a giant Sara Lee cake. The party favor
for guests at the end of the evening? A miniature Poncet sculpture. Number nine,
Untitled from 2017, by Ryan Wilde.
Wilde, a current Deerfield High School student, depicts the interaction of
light passing through crystals against a deep purple background, in this 10 foot
by 20 foot mural. The mural was created under the supervision of DHS art
teacher Michael Moran as part of the Deerfield Fine Arts Commission's new
mural program. Moran used the mural as part of an experiential learning project
for his advanced graphic design students. From a group of about 40 students,
submissions were narrowed down to six students who presented their work to the
Commission with an artist statement. The Commission voted to select the winning
entry. Moran also praised the work for giving the illusion of extending beyond
the borders with the bottom corners suggesting more crystal formations. The
plan is for murals to rotate yearly in this space. Wilde said that the mural
program presents "a great opportunity for young Deerfield artists."
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