Images

Boston Women’s Memorial

2003, Commonwealth Ave. & Fairfield St. Boston, MA
bronze and granite, pavement 30’ diameter, figures 1.2 times life size

Commissioned for Boston’s historic Back Bay, commemorating Abigail Adams, Phillis Wheatley & Lucy Stone for their writing and their impact on society.  The women have come down off their pedestals (as in this century women have, symbolically) and have deconstructed their traditional orientation in order to use their pedestals as work surfaces.

photo © Ricardo Barros.com

Monument to Anonymous 2

modified ferrocement, 1984
31” x 23” x 33”

A monument to our most prolific sculptor, painter, composer and writer. As her/his name suggests, Anonymous is a mouse. Despite her/his absorption in work, one ear is tuned to our world. The other is focused on the page like a reading lamp. In its third public exhibition, in Central Park, NYC, Anonymous was installed on a pedestal with steps and was climbed on by over 10,000 people, not all of them children.

photo by Paul Warchol

Monument to Anonymous

modified ferrocement, 1984
31” x 23” x 33”

A monument to our most prolific sculptor, painter, composer and writer. As her/his name suggests, Anonymous is a mouse. Despite her/his absorption in work, one ear is tuned to our world. The other is focused on the page like a reading lamp. In its third public exhibition, in Central Park, NYC, Anonymous was installed on a pedestal with steps and was climbed on by over 10,000 people, not all of them children.

photo by Paul Warchol

Daphne Reconsidering 2

modified ferrocement, fabric, 1988
100” x 84” x 60”

Daphne, many centuries after turning into a tree to escape Apollo’s amorous advances, begins to turn back into a woman. I love the insistence with which the shapes of human anatomy leap out from the natural world. I had been concerned with the absence of the human figure in contemporary sculpture, and related this to the Greek myth, to the possibility of Daphne regretting her ancient transformation and beginning to desire human form again.

photo by Paul Warchol

Daphne Reconsidering

1988
100” x 84” x 60”

Daphne, many centuries after turning into a tree to escape Apollo’s amorous advances, begins to turn back into a woman. I love the insistence with which the shapes of human anatomy leap out from the natural world. I had been concerned with the absence of the human figure in contemporary sculpture, and related this to the Greek myth, to the possibility of Daphne regretting her ancient transformation and beginning to desire human form again.

photo by Paul Warchol

Daphne Reconsidering

1988
100” x 84” x 60”

Daphne, many centuries after turning into a tree to escape Apollo’s amorous advances, begins to turn back into a woman. I love the insistence with which the shapes of human anatomy leap out from the natural world. I had been concerned with the absence of the human figure in contemporary sculpture, and related this to the Greek myth, to the possibility of Daphne regretting her ancient transformation and beginning to desire human form again.

photo by Michael Bergmann

Lucy J. Brown

Ithaca, NY
2024
bronze
51” x 60” x 39”
Commissioned by Ithaca Neighborhood Housing Services

An outspoken fighter for social justice and co-found of Ithaca Neighborhood Housing Services, Lucy Brown was born in Ithaca in 1933. Here, Kate De La Garza, the current Executive Director of INHS, enjoys Miss Lucy’s energy.

Meanwhile 2

cast resin, 2000
48“ x 27” x 14”

from the series Set of Sets, inspired by the resemblance between television sets and Roman tombs. In this Set, created for an installation at the DeCordova Museum & Sculpture Park in Lincoln, MA, an adult-sized boy’s head rests in a television as in a coffin.

Meanwhile

cast resin, 2000
48“ x 27” x 14”

from the series Set of Sets, inspired by the resemblance between television sets and Roman tombs. In this Set, created for an installation at the DeCordova Museum & Sculpture Park in Lincoln, MA, an adult-sized boy’s head rests in a television as in a coffin.

Silent Head 2

cast resin, concrete, 1998
48“ x 27” x 20”

from the series Set of Sets, inspired by the resemblance between television sets and Roman tombs. In this Set, created for a 2 year installation in the Leigh Yawkey Woodson Museum Sculpture Garden, the “talking head” of broadcast news confronts the viewer with the ancient gesture of silence and complicity.

Silent Head

cast resin, concrete, 1998
48“ x 27” x 20”

from the series Set of Sets, inspired by the resemblance between television sets and Roman tombs. In this Set, created for a 2 year installation in the Leigh Yawkey Woodson Museum Sculpture Garden, the “talking head” of broadcast news confronts the viewer with the ancient gesture of silence and complicity.

Justice Ruth Bader Ginsburg: Site & Design Drawing


The “Million-Dollar Staircase”, New York State Capitol, Albany, NY before installation of RBG portrait.

Design drawing for RBG portrait to be carved in sandstone from the original quarry in Scotland. Justice Ginsburg is wearing her massive Dissent Collar instead of the wreaths worn by Clara Barton, Susan B. Anthony, etc. in their 19th c. portraits carved at the bottom of the staircase.

FDR Hope Memorial (detail)

2021
bronze and granite
figures 1.15 times life size

FDR’s body is sculpted to accurately depict his paralysis from polio, and seated in a wheelchair of his own design. In a joyful moment, he greets a similarly disabled young girl who represents the many children treated at Warm Springs, the facility FDR founded, where he returned often for treatment, refreshment and hope.

FDR Hope Memorial

2021
bronze and granite,
oval pavement 36’ x 29′
figures 1.15 times life size

The first memorial to focus both on FDR’s disability and his heroism.  The transformation of Roosevelt Island from a place of quarantine, penal servitude and hopelessness to a center for treatment and research in polio and then to one of the first communities to “mainstream” disabled patients is chronicled in an inscribed timeline. The statues stand on a white granite oval the size of the Oval Office, and the paths and benches are designed to accommodate a range of abilities.

The Expulsion

31” x 32” x 2”
2016
bronze, gold leaf

This is part of a series of Renaissance-style bas-reliefs depicting Biblical characters in appropriate attitudes and situations that mimic the design of contemporary traffic signs. My intention is the opposite of Jasper Johns’ when he painted flags and maps; I want to take an image that has been stripped of narrative, character and any human particulars– a sign– and make it back into a symbol. Here, the Children Crossing carrying their schoolbooks become a gutsy Eve leading an abashed Adam.

Cain

bonded bronze, gold leaf, 2008
26” x 26” x 2”

From a series of Renaissance-style bas-reliefs depicting Biblical characters in appropriate attitudes and situations that mimic the design of contemporary traffic signs. My intention is the opposite of Jasper Johns’s when he painted flags and maps; I want to take an image that has been stripped of narrative, character and any human particulars– a sign– and make it back into a symbol. Here, the Pedestrian Crossing becomes the wandering Cain.

Urn 3

bonded bronze, edition of 14, 2006
14” x 12” x 12”

The size and shape of a standard wastebasket, this Urn is covered with bas-relief images of hands crumpling up sheets of paper with varying gestures of frustration or nonchalance. Accomplished contemporary poets posed for each hand, including Dick Davis, Dana Gioia, R.S. Gwynn, Rachel Hadas, Charles Martin, F.D. Reeve, Marilyn Taylor, Catherine Tufariello and David Yezzi.

Lexington Women’s Monument (detail: Caroline Wellington)


2024
bronze

Caroline Wellington was a champion of women’s suffrage for more than 60 years. In 1887 she and her sisters made a banner for the Boston Suffrage Bazaar that quoted Abigail Harrington’s famous call to wake her son to join the battle of Lexington on April 19, 1775. In 1912, 92-year-old Caroline passed the banner to younger suffragists to carry in their march on Washington, D.C. Here, she is dressed as if for that march.

Urn 2

bonded bronze, edition of 14, 2006
14” x 12” x 12”

The size and shape of a standard wastebasket, this Urn is covered with bas-relief images of hands crumpling up sheets of paper with varying gestures of frustration or nonchalance. Accomplished contemporary poets posed for each hand, including Dick Davis, Dana Gioia, R.S. Gwynn, Rachel Hadas, Charles Martin, F.D. Reeve, Marilyn Taylor, Catherine Tufariello and David Yezzi