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Our NSG sculpture placements in Little Rock like Tim Cherry's "Rabbit Reach" and Jane DeDecker's The Ties that Bind have struck a chord with Melissa Joan Hart during her visit to Arkansas.
Thanks Melissa! We've placed over 30 significant public art pieces in Little Rock since 2004 when we first placed artwork there designed to lead pedestrians from downtown to the William Jefferson Clinton Presidential Center; pulling our inspiration from his 1996 Bridge to 21st Century speech we selected artwork that complements the library and surrounding themes and landscape as well as President Clinton's ideals of family, cultural diversity and looking to the future. We've loved placing artwork there ever since; designing the Vogel Schwartz Sculpture Garden and developing River Front Park and the surrounding area with Dean Kumpuris and board of the Sculpture at the River Market and the many great people from the city of Little Rock. If you haven't visited this great community - GO! #NSG #sculpture #MelissaJoanHart
"Crucible of Light" by Chapel and the National Sculptors' Guild - a unique steel and natural stone 14ft high sculpture commissioned by the City of South San Francisco, CA - installed at the Community Center August 20. ©2009, all rights reserved
"Book Mobile" by Mark Leichliter and the National Sculptors' Guild - a unique composition commissioned for the Episcopal Collegiate School in Little Rock, AR installed July 31st. ©2009, all rights reserved
Installed and dedicated, the Norfolk Mermaid, a 12ft long stainless steel sculpture by Mark Leichliter and the National Sculptors' Guild at Town Point Park on the Elizabeth River downtown Norfolk, Virginia.
©2009, All Rights Reserved.
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“A Prosperous Past, a Bright Future” by Fellow Gary Alsum and the National Sculptors' Guild was placed in Brighton, at Bridge St and Cabbage Ave, commissioned through the city of Brighton, Colorado. The public artwork features two sculptural elements. The first element speaks to Brighton’s rich history and sense of family. The piece depicts a father, mother and young daughter. The father’s occupation is vague so that the viewer could see him as a farmer, a miner or any profession that made Brighton what it is today. On the ground next to the mother’s foot is a basket of vegetables, a nod to Brighton’s agricultural past and future. The second element connects to the city’s current boom and its continued success in the future. This sculpture depicts a young boy, playing with a train and a toy airplane. The train is symbolic of Brighton’s past. The airplane is symbolic of Brighton’s steady economic growth as a result of its proximity to DIA. Gary states that “The challenge of sculpture is depicting the movement and energy of a single moment.” Placing a great deal of focus on movement and grace, Gary’s sculptures pass on the freedom, joy and curiosity that children display on a daily basis. NSG Public Art Placement #287 The National Sculptors' Guild has worked with the City of Brighton to place a number of bronze sculptures by Fellow Jane DeDecker at the entrance of the Recreation Center on 11th Avenue, Brighton, Colorado. The pieces each speak to discovery and play, depicting youth actively interacting with nature. Jane states... “My work is a cumulative process made of my life experiences and my desire to sculpt the human form. Each piece tells a story of how it was created - every stroke supporting the narrative.” Part of Jane’s artistic genius is her ability to select a moment to which all of us can relate on a personal level. These moments span all generations, depicting a universally recognized scene. This scene may speak of the love between parent and child, the freedom of a child’s imagination or the simple dignity of everyday tasks. Each is a timeless expression of the human experience, causing us to reflect and evaluate the importance of love, relationships and achievement. - John Kinkade, Executive Director of the National Sculptors' Guild NSG Public Art Placement #213 Galileo, Lords of the Forest, Ears of Joy and Leaves of Grass Courage to Lead by Denny Haskew and the National Sculptors' Guild was placed in front of Brighton, Colorado's City Hall. This one and a quarter life-size bronze sculpture was introduced in May of 1993 and won the Western Regional Show, Cheyenne, WY, the People’s Choice Award at Hillside Sculpture Invitational, and the Sculpture Award at the Red Earth Invitational Art Show. In the creation of this artwork, Denny drew upon historical research after being told stories about the Society of the Sacred Arrow. This Society existed among many of the Plains Indian tribes. Among other tribes, the Crow, the Arapaho and the Cheyenne were known to perform the Sacred Arrow Ceremony. The night prior to a raiding party, war party or some equally important event, the tribe would gather around the pow wow circle with much chanting and singing. The members of the Society of the Sacred Arrow would rush out into the center of the ring and collectively shoot arrows straight into the sky. Then with a show of bravery and courage, they would stand still as the falling shafts came back to earth. Each member was unafraid because of his strong belief in his spiritual protection. Their courage and conviction showed that their cause was right and that God was with them. This was a great morale boost to the tribe members in attaining success on the next day’s venture. This display of courage by the members of the Sacred Arrow Society often placed them in the role as leaders of other warriors.It is placed upon Dakota Sandstone taken from the foothills. The sandstone used was created 70 million years ago. Dakota Sandstone occasionally appears on the plains in jutting outcroppings and bluffs. Plain’s Native Americans used it for structural purposes in religious dwellings. The design team of NSG Fellow Haskew and JK Designs Principal Kinkade has stacked 20 tons of this stone to create the suggestion of such an outcropping. The vertical stone holds a bronze plaque of explanation and commemoration. Denny Haskew is a Charter Member of the National Sculptors' Guild and one of Loveland's best known artists with his sculptures installed throughout the United States including Alaska, California, Arizona, Colorado, Utah, New Mexico, Oklahoma, Texas, Wyoming, South Dakota, New York, Michigan, Virginia, South Carolina, Illinois and Kentucky. For many years, Haskew maintains a Loveland home-based studio.
Haskew was born in Aurora and went to junior high and high school in Salt Lake City, Utah. He completed a bachelor's degree in business administration at the University of Utah. Haskew spent much of his early career as a ski instructor at Park City, Utah and was involved in developing ski touring trails in Idaho. He was also a white water river guide in the Grand Canyon. He did carpentry work and made furniture on the side.The talent and desire to become an artist goes back to Haskew's childhood when he carved decoys out of firewood for his father. He then tried his hand at carving shore birds. His parents moved to Loveland, and Haskew became interested in meeting one of the local artists. His introduction to Fritz White changed his life, and he knew he wanted a career as an artist. He asked White how to get started, and White said, "The old fashion way -- as an apprentice." Haskew quickly asked if he could become White's apprentice and to that, White responded, "I was afraid you would say that." White was a taskmaster often tearing apart what Haskew had started. However despite critical setbacks, Haskew sold his first piece while working for White. After a year, Haskew set up his own studio. With just four pieces, he was accepted into "Sculpture in the Park" held annually in the Benson Park Sculpture Garden. “I begin with the human figure. Initially, I have no intention of creating an ‘Indian image’, but sometimes the statement comes out stronger that way. Sometimes the opposite is true. Recently, I started to sculpt a Native figure, but it became something else. We’re all human beings inside. We’re all a mixture and will continue to mix until it no longer matters what type of figure is used as long as it makes the strongest statement possible.” see more of Haskew's work here. NSG Public Art Placement #133
Denny Haskew and the National Sculptors’ Guild have completed and placed a one-of-a-kind monument titled “Whispers of Oneness” for Keystone, Colorado, The 15-foot tall bronze and Dakota sandstone sculpture was dedicated in December, 1997. A trans morphic depiction of a Ute Medicine Man enveloped by an eagle emerging from a stone monolith. The artwork honors the Utes and their 10,000 year history in Summit County. For these multi-media works, Denny has developed a patina that matches the unique qualities of the stone, making the materials appear as one. The artwork was selected from a national competition by The Summit Foundation and Keystone Real Estate Developments for the River Run Events Plaza in Keystone, Colorado. The NSG design team members for this placement were Denny Haskew, Sculptor, and John W. Kinkade, Executive Director, National Sculptors’ Guild, both of Loveland, Colorado. "Let these stone shapes rise like truths inside us all. Cool air caresses my being, though these stones warm me. Mysteries appear to merge, perhaps an eagle is about to be born. Stone and feather reaching upward, drawing me into its presence of Oneness. Eagle, Stone, Human All whisper that ancient truth inside us all." - Denny Haskew
As a Native American, my inspiration for this composition comes from the spiritual traditions of the Ute Tribe and the beauty of the site. Called the Mountain People, the Ute maintained a habitation site that goes back 8,000 to 10,000 years within a stones throw of the River Run Sculpture Site. Found at the site are arrowheads, tool manufacturing implements, paleo Indian projectiles, and many other points. The sculpture will depict the harmony that we strive to reach with nature by showing a bald eagle sharing its secrets with a Ute medicine man. The eagle's secrets were the source of the medicine man's magical healing powers and were a symbol of vibrant health. The Utes gave their medicine men implicit trust. Medicine men would go into a trance like state to receive the gifts from the eagles and other animals. A bronze figure, one half Ute brave and one half eagle will emerge from a thirteen-foot high Dakota Sandstone monolith. Several other shorter sandstone monoliths will be grouped around it. In Native American beliefs, each stone has its own energy, soul, and tells its own story. The image emerging from the stone will appear to be an eagle when viewed from the side, while from the face of the stone a Ute man enveloped by the eagle appears. When viewing the work in the round one will not be able to totally discern that one half of the figure is human and the other bird unless standing directly in front of the monolith from which the bronze figures emerge. The Utes, eagles, and Dakota sandstone came together in Summit County and the Gore Range. Summit County is a prime area for eagles with the Eagles Nest Wilderness area on the border of the Summit and Eagle counties. The Dakota sandstone is a prevalent material of fossil beds. River Run sits on a 4,000 foot deep fossil bed and layers of Dakota sandstone remain visible to mountain visitors. The Dakota sandstone has also been used as a building material in the surrounding architecture, use of the stone will visually tie into the site. The Utes were an open-handed and friendly people to the Euro-Americans who settled the area after gold was discovered by the Euro-Americans on August 10, 1859. When the mining insurgence reached about 8,000 people in 1860, the Utes were still friendly and open, requesting that they just have the valleys where the game was. In 1879 the Utes were marched out of Summit County by the United States government and not at the wish of the Summit Euro-Americans. This sculpture honors the Utes and their 10,000 year history in Summit County. This competition has been both educational and inspirational to me. During my life, I have been a ski instructor as well as a River Ranger for the National Park Service. Studying the Ute tribe and its relationship to this site, and understanding the quality of experience and setting you wish to provide all of the visitors, has provided me an opportunity to convey my own philosophy of the importance of humanity's oneness with nature." -Denny Haskew, National Sculptors' Guild 1997 NSG Public Art Placement 49
#Throwback #NationalSculptorsGuild #PublicArt #NSG #DennyHaskew #Figurative #Bronze #WhispersOfOneness #Ute #Keystone #Colorado #SummitCounty #IndeginousPeople #SculptureIsATeamSport #ArtistDriven #ClientMinded Update 2003-Present: More recent images show nature's changes made to the sculpture's patinas following area wildfires. We wish everyone safety when these unfortunate fires spark up. The beauty of the art, the land, and the people prevail. Update November 2000: Our design team won the 2000 Orchid Award from the San Diego Architectural Foundation for the Barona Casino Entry!! THE SDAF ORCHID
Update March 1998: The Barona Band of Mission Indians commissioned the National Sculptors’ Guild to design an entry honoring their living and deceased elders. “The Greeters” was ceremonially blessed and dedicated on March 5, 1998 in Lakeside, California. The design and creation of this monumental statement took the team over a year to plan and execute. The sculptures were placed in August of 1997, and the environmental sculpture and plantings were finalized in early 1998. This placement follows a previous commission by the Barona Tribe, a Veteran’s memorial that the National Sculptors’ Guild and Denny Haskew dedicated in 1996 - "He Who Fights With a Feather" The Barona are incredibly generous, both collectively and individually, everyone we met were generous with wisdom and nurturing of the future; working with the Tribe has been a highlight for each member of the design team. Learn about their philanthropic efforts A large-scale art placement was created for the Barona Band of Mission Indians by the NSG design team: Denny Haskew, lead artist; John W. Kinkade, JK Designs, Principal; Greg Hebert Landscape Architect; and Beaver Curo, representative of the Barona Tribe. The entry statement includes multiple sculptures intermixed with earthworks. The rim of a basket emerging from the earth planted with native grasses as a backdrop for sculptures of stone and bronze. Patterning of the landscaping is derived from the Tribe's traditional basket weaving designs. Oak trees that were the sustenance of previous generations connect the earth to the sky. The monumental sculptures, "Respect all that is Natural", "Observe Nature", "Give of Yourself", "Love Song" and "Trail of Forgiveness", are visible as one traverses the 200-foot diameter site, welcoming visitors to the the Barona Resort & Casino. The sculptures represent all Tribal people, the very young and the elderly, as well as the unborn children who represent the future. Haskew's sculptures are a combination of bronze and monolithic Dakota sandstone that stand 8- to 13-feet high and weigh 7 to 10 tons each. Emerging from the face of each stone are bronze figurative elements. Haskew has developed a special patina technique to match the unique variations of the stone. The sculpted forms depict an old man, a child, a young mother, a flute player and an old woman. Each has symbolic significance. In his dedication speech Haskew advised that the eagle feather held by the old man is an admonition to “respect all that is natural. That’s everything, all of us . . . . All of life.” The child points her finger to the landscape of the Barona reservation and gives the admonition to “observe nature.” Honoring all the mothers before and after her, the young mother lifts a clay pot that she has made to honor Mother Nature and all mothers “who give of themselves,” Haskew said. • Respect All that is Natural: The old man holds his prayer feather and blesses this new valley. Respect all that is natural and be one with this new place. • Observe Nature: The young child points to her new valley. Observe nature, she says. We honor all the small children forced to move from their homes to this new valley. • Give of Yourself: A woman holds her handmade pottery and tells the viewer: Give of yourself in this new place that we all may prosper. This sculpture honors all the women who had to leave their homes and gardens for a new valley. -Denny Haskew Beyond the initial trio stands two monoliths, the figure emerging from the larger stone wears a Barona eagle feather headdress, he is a flutist playing a love song to his future bride, represented by a smaller monolith. This smaller stone is void of a bronze figure and “represents woman and the unborn child,” explained Haskew,...“Love is the thing that binds the two together. Love binds all of us together.” The final sculptural element is of an old woman with her hands lifted in prayer. “A lot of bad things . . . have happened to Native People over the last 200, 300, 400 years,” said Haskew knowingly as a member of Oklahoma’s Citizen Potawatomi Nation. “That Grandmother back there is saying it’s time to find a new trail, a trail of forgiveness.” Her wisdom is imperative for the world's future generations. The Barona are incredibly generous, both collectively and individually, everyone we met were generous with wisdom and nurturing of the future; working with the Tribe has been a highlight for each member of the design team. Learn about their philanthropic efforts here. NSG Public Art Placements 44, 45, 46, 1997 The Greeters, Barona Band of Mission Indians
#Throwback #NationalSculptorsGuild #PublicArt #NSG #DennyHaskew #Figurative #Bronze #IndeginousPeople #BaronaBandofMissionIndians #California #SculptureIsATeamSport #ArtistDriven #ClientMinded The National Sculptors' Guild placed sculptor Bill Bond's "Crocodile Dandy" in Mountain View, California in 1996. The fun depiction of two kids enjoying a ride on the back of a crocodile, umbrella and all, can be enjoyed outside the Middlefield VTA light rail station.
1997 NSG Public Art Placement 47 #NationalSculptorsGuild #PublicArt #NSG #BillBond #Figurative #Wildlife #Bronze #CrocodileDandy #California #SculptureIsATeamSport #ArtistDriven #ClientMinded Glendale, Arizona has been a great city for us to work with, they've quickly grown a great public art collection with several of our member's work. The National Sculptors' Guild placed sculptor Bill Bond's "Crocodile Dandy" in 1996. The fun depiction of two kids enjoying a ride on the back of a crocodile, umbrella and all, can be found at the Rose Lane Pool in Glendale. NSG Public Art Placement 38, 1996 #NationalSculptorsGuild #PublicArt #NSG #BillBond #Figurative #Wildlife #Bronze #CrocodileDandy #Glendale #Arizona #SculptureIsATeamSport #ArtistDriven #ClientMinded Kent Ullberg's bronze sculpture "Startled" placed by Omaha Botanical Gardens, Nebraska.
Located in the Song of the Lark Meadow, this bronze sculpture depicts a buck that is alerted to passers-by. NSG Placement #32
The National Sculptors' Guild placed Rosetta's "Mountain Fishing" bronze mountain lion at Hewlett Packard's Headquarters in Loveland in 1995.
NSG Placement #28
As you approach the Desert Holocaust Memorial, you see a circular row of trees. These trees represent life outside of the enclosed fence of the concentration camps. At the entry to the memorial you will see a bronze plaque which gives a chronology of the systematic deprivation by law of the civil rights, jobs, property and life of “non-Aryans” by the Nazi party. Inside the history pedestal is buried an urn containing the verified names of 12,000 Righteous Gentiles who hid or assisted those condemned by Nazi regime during the years of the Holocaust. At the heart of the memorial are seven larger than life bronze figures representing the people and different aspects of the Holocaust. The standing man is intended to be defiant and accusing. He in part represents the resistance of the Jews and others that fought the Nazi tyranny. (Note the left forearm on this man bears the number tattooed on a local Holocaust survivor.) The other figures are of a mother with two children begging for mercy, a boy from the ghetto, a rabbi praying, and finally the figure behind the group, a man alone, silent, dying. His death represents bigotry, ignorance, and hatred taken to its inevitable end. The faces and representations at the memorial were taken from actual photographic and news footage researched by the artist's team at the United States Holocaust Museum in Washington D.C. The seven bronze figures are mounted on a double-tiered Star of David 20 feet across. The block granite is etched with a map of Europe indicating the location of the many concentration camps as well as the number of persons who perished. The cobblestone and light standards are replicas of those at Auschwitz. Placed between the light posts are eleven bas reliefs telling the story of the Holocaust. A plaque located adjacent to each details the specific scene represented. This memorial includes extensive provisions for educating people of all ages, races, and religions about the period of the Holocaust. It is a lesson about denial of basic civil rights. The monument memorializes lost parents, children, loved ones, and millions of innocent people. It is a place of respect, of respite, of mourning and of remembrance. It is also a monument of hope — hope that we can overcome bigotry and live among diversity in peace. -Desert Holocaust Committee.
The National Sculptors' Guild placed Fellow Jane DeDecker's "Jungle Gym" in Westminster, Colorado in 1995. The 125% life-size multi-figurative bronze features five-children at play on a jungle gym, with a dog eager to join in the fun at the laces of one of the kids. The piece is a reminder of simpler days of play in parks and schools. The sculpture measures 11ft tall, 15ft wide, 5ft deep. Purchased by the City of Westminster, Colorado using their Community Enhancement Fund. Placed at City Hall Sculpture Garden, 4800 West 92nd Avenue, west side of City Hall near Yates Street. NSG Placement #9
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JK Design/NSGJK Designs’ Principal, John Kinkade, founded the National Sculptors’ Guild in 1992 with a handful of sculptors who wished to find thoughtful public applications for their work. Representation has since grown to over 20 contracted sculptors and painters; plus an extended network of 200+ artists that our design team works with on a regular basis to meet each project's unique needs. click here for a list of our over 500 large-scale placements. Archives
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