Abstract Sculpture David Hayes

David Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.
Hayes received a Bachelor of Arts degree from the University of Notre Dame in 1953, and a M.F.A. degree from Indiana University in 1955 where he studied with David Smith.Smith pioneered sculpture in metal and Hayes also made his sculpture using metal, formed in graceful curves, shapes abstracted from sketches of objects and ideas.He received a post-doctoral Fulbright Award and a Guggenheim Fellowship. He was a recipient of the Logan Medal of the Arts for Sculpture and an award from the National Institute of Arts and Letters. During his life, he had 300 exhibitions and his work is included in 100 institutional collections including those of the Museum of Modern Art and the Guggenheim Museum in New York City.In 2007, he was conferred an honorary Doctor of Humane Letters degree by Albertus Magnus College.Hayes resided in Coventry, Connecticut since 1958, where he had 57 acres of land to exhibit his works. He died of leukemia at his home there on April 9, 2013. He was 82.Wikipedia

Cadillac Ranch -  Chip Lord, Hudson Marquez and Doug Michels

Cadillac Ranch is a public art installation and sculpture in Amarillo, Texas, USA. It was created in 1974 by Chip Lord, Hudson Marquez and Doug Michels, who were a part of the art group Ant Farm. It consists of what were (when originally installed during 1974) either older running used or junk Cadillac automobiles, representing a number of evolutions of the car line (most notably the birth and death of the defining feature of mid twentieth century Cadillacs: the tailfins) from 1949 to 1963, half-buried nose-first in the ground, at an angle purportedly corresponding to that of the Great Pyramid of Giza in Egypt. According to Marquez, “Chip and I were living in the mountains north of San Francisco, and there was a book meant for kids left in a bar near where we lived. It was called ‘The Look of Cars,’ and there was something on the rise and fall of the tail fin. I didn’t have a lot to do, so I just sorta drew it up. I’ve always loved the Cadillacs.”The group claims to have been given a list of eccentric millionaires in 1972 in San Francisco, identifying Stanley Marsh 3 of Amarillo amongst those who might be able to fund one of their projects and submitted it to him. Marsh's response began "It's going to take me awhile to get used to the idea of the Cadillac Ranch. I'll answer you by April Fool's Day. It's such an irrelevant and silly proposition that I want to give it all my time and attention so I can make a casual judgement of it.Cadillac Ranch was originally located in a wheat field, but in 1997, the installation was quietly moved by a local contractor to a location two miles (three kilometers) to the west, to a cow pasture along Interstate 40, in order to place it farther from the limits of the growing city.Both sites belonged to the local millionaire Stanley Marsh 3, the patron of the project. Marsh was well known in the city for his longtime patronage of artistic endeavors including the Cadillac Ranch; Floating Mesa; Amarillo Ramp, a work by land artist Robert Smithson; and a series of fake traffic signs throughout the city known collectively as the Dynamite Museum. As of 2013, Stanley Marsh 3 did not own the Cadillac Ranch; ownership appears to have been transferred to a family trust some time before his June 2014 death.Cadillac Ranch is visible from the highway, and though located on private land, visiting it (by driving along a frontage road and entering the pasture by walking through an unlocked gate) is tacitly encouraged. In addition, writing graffiti on or otherwise spray-painting the vehicles is now encouraged, and the vehicles, which have long since lost their original colors, are wildly decorated. The cars are periodically repainted various colors (once white for the filming of a television commercial, another time pink in honor of Stanley's wife Wendy's birthday, and again all 10 cars were painted flat black to mark the passing of Ant Farm artist Doug Michels, or simply to provide a fresh canvas for future visitors). In 2012 they were painted rainbow colors to commemorate gay pride day. The cars were briefly "restored" to their original colors by the motel chain Hampton Inn in a public relations-sponsored series of Route 66 landmark restoration projects. The new paint jobs and even the plaque commemorating the project lasted less than 24 hours without fresh graffiti.Wikipedia

Prince Twins Seven Seven - Nigerian painter, sculptor and musician

Twins Seven Seven, born Omoba Taiwo Olaniyi Oyewale-Toyeje Oyelale Osuntoki (3 May 1944 – 16 June 2011)in Ogidi, Kogi State, Nigeria, was a Nigerian painter, sculptor and musician."Prince Twins Seven-Seven he came to the United States in the late 1980s and settled in the Philadelphia area, although he traveled abroad frequently. His life entered a turbulent period, filled with drinking and gambling, he said. Destitute, he found work as a parking-lot attendant for Material Culture, a large Philadelphia store that sells antiquities, furnishings and carpets.
When the owner learned that Prince Twins Seven-Seven was an artist, he had him decorate the store’s wrapping paper. Later, he was given a small room to use as a studio.His career rebounded. In 2000, the Indianapolis Museum of Art opened a wing devoted to contemporary African art with an exhibition featuring his work, which was also included in an exhibition that year at the National Museum of African Art at the Smithsonian.In 2005, after being nominated by President Olosegun Obaganjo of Nigeria, Prince Twins Seven-Seven was named one of Unesco’s Artists for Peace, a position that gave him new international visibility.
Prince Twins Seven-Seven, who lived in Ibadan and Oshogbo, is survived by many wives, children and grandchildren."(New York Times)


Denis Bowen - New Vision Group

Denis Bowen (5 April 1921 - 23 March 2006) was a South African artist, gallery director and promoter of abstract and avant-garde art in Britain. He was founder of the New Vision Group and the New Vision Centre Gallery, both of which played an important role in the post-World War II British art scene.Denis Bowen was born on 5 April 1921 in Kimberley, South Africa. His father was Welsh and his mother English. After being orphaned at a young age, Bowen moved to England where he was raised by his aunt in Huddersfield. He enrolled at the Huddersfield School of Art in 1936. After serving in the Navy in World War II, Bowen resumed his art studies at the Royal College of Art in London in 1946.Between 1940 and 1986 Bowen taught art at numerous institutions including: the Kingston Institute of Art, Hammersmith School of Art, Birmingham School of Art, the Central School of Art and Design, the Royal College of Art and the University of British Columbia in Vancouver.
In 1951 Bowen founded the New Vision Group, which initially emerged from meetings and displays that he organised with his students in 1951. In 1955, Bowen worked alongside Frank Avray Wilson and Halima Nalecz to open a permanent exhibition space for the New Vision Group and associated artists. Bowen, Wilson and Nalecz were all members of the New Vision Group and also the Free Painters Group (later Free Painters and Sculptors) which had been founded a few years earlier.In the early years of his artistic career, from the early 1950s to the mid 1960s, Bowen formed part of a small group of UK-based artists who were associated with Tachisme and Art Informel. Between 1969 and 1980 he produced a series of "psychedelic works" that incorporated lighting effects (including the use of UV lights), music and live music performances. From the 1980s onward, Bowen's work developed cosmological and planetary themes.Wikipedia


Craig Kauffman

Craig Kauffman (March 31, 1932 – May 9, 2010) was an artist who has exhibited since 1951. Kauffman’s primarily abstract paintings and wall relief sculptures are included in over 20 museum collections, including the Museum of Modern Art, the Whitney Museum of American Art, the Tate Modern, the Louisiana Museum of Modern Art, the Art Institute of Chicago, the Los Angeles County Museum of Art, Seattle Art Museum, and the Museum of Contemporary Art, Los Angeles.
Kauffman first exhibited at the Felix Landau Gallery in Los Angeles, and was included in other Los Angeles group exhibits during the early 1950s. He was a member of the original group of artists at the Ferus Gallery (founded in 1957 by Edward Kienholz and Walter Hopps), and had a one-person show at that gallery in 1958. According to critic and historian Peter Plagens, the 1958 paintings were:
   …Abstract Expressionist but contain the first evidence of a Los Angeles sensibility: Tell Tale Heart (1958) is structured superficially along the lines of a second-generation New York painting, but it reveals the original stem-and-bulb shapes that Kauffman was later to translate into Plexiglas. The ‘clean’ Abstract Expressionist work of Craig Kauffman could be the point at which Los Angeles art decided to live on its own life-terms, instead of those handed down from Paris, New York, or even San Francisco.In several series of wall relief sculptures made between 1964 and 1970, Kauffman pioneered the use of acrylic plastic as a support for painting. Craig Kauffman’s wall relief sculptures are his most well known work. Throughout his career, Kauffman has explored the use of unorthodox materials. Art historian Susan C. Larsen notes: Kauffman’s work has maintained its radiant color and its emphasis on certain sensuous physical properties of his materials.
Through his integration of sprayed color and shape, Kauffman achieved the visual presence of his vacuum formed acrylic wall reliefs. Works from the late 1960s have been described by former Whitney museum curator Richard Armstrong as:
Glossy and symmetrical, the work’s visually wet surface engenders anatomical, sometimes overtly sexual, comparisons.Curators and historians now regard Kauffman’s works from the late 1960s in relation to the art movement known as Minimalism. Susan L. Jenkins wrote:…his works, as well as others associated with the L.A. Look, can nevertheless be thought of as possessing a relatively Minimalist sensibility. Like Judd’s ‘specific objects’, Kauffman’s vacuum-formed plastic works exist in a space between painting and sculpture.Wikipedia