Showing posts with label Sculpture. Show all posts
Showing posts with label Sculpture. Show all posts

Wednesday, January 9, 2019

January 9, 1978 -- Dubuffet or Manzu?

architectureviaggi.it
January 9, 1978 – The editorial board of the Chicago Tribune offers its opinion about an appropriate memorial sculpture in honor of the late Mayor Richard J. Daley, introducing the subject with an assessment of Daley’s achievement in bringing about a civic consciousness concerning art --  “… during his administration, and with his support, Chicago has become a showplace for some of the best known – and some of the most controversial – artists of the modern world.” [Chicago Tribune, January 9, 1978] A committee has narrowed the possible choices to two men – Giacomo Manzu, an Italian, and Jean Dubuffet, A French abstractionist.  The Tribune opts for Manzu because “his work strikes us as more representative of the man it is intended to honor, and more fitting for the space which has generally been agreed on – the east lobby of the Daley Civic Center.  We also think that there will be more of Mr. Daley – or at least more that is recognizable – in a Manzu work than a Dubuffet.”  The board notes that Manzu’s talent in creating bas-reliefs would be perfect for the Daley Center’s interior walls, even suggesting that some of Daley’s quotations “the more grammatical ones, we suppose” could be engraved around the creative work.  Dubuffet’s work, the editorial asserts, is “better suited to big, outdoor spaces.  To put a Dubuffet in the Daley Center lobby, virtually in the shadow of the big Picasso outdoors, would be a waste of similar talents.”  Dubuffet’s “Monument with Standing Beast” was unveiled across the street from the Daley Center on November 28, 1984, one of 19 commissioned artworks in or around the James R. Thompson Center that was funded by the State of Illinois Art-in-Architecture program.   


January 9, 2005 – The American Institute of Architects announces that the Chicago architecture firm of Perkins + Will has won national honors for the Skybridge condominium building on the southeast corner of Washington Boulevard and Halsted Street.  The organization describes the new building as “much a work of urban design as it is a residential condominium tower.”  The citation goes on, “The building’s base-and-tower parti [big idea of organizing thought] is adjusted to accommodate the two extreme conditions on the site, the neighborhood and the expressway.  The tower parallels the expressway and is pushed to the eastern edge of the site, both reducing the canyon effect on Halsted Street and maximizing views of the skyline from the residential units … The mass of the residential tower has been manipulated to break up its bulk and read as two towers connected by transparent walkways that form an overscaled window through the building… The use of subtle shades heightens the layering of the planes of the façade and further breaks up the mass.  The towers are united at the top by a thin roof plane that becomes a cantilevered trellis above the north façade.”


January 9, 1910 – The Chicago Daily Tribune runs a feature on the history of Michigan Avenue from the time of Fort Dearborn to the time of the Chicago fire in 1871.  Today’s great boulevard began as an Indian trail, leading to the gates of Fort Dearborn at what is today Madison Street. An early resident recalled the early trail as “A brown path where the grass had been trodden out fed to the fort.”  It was this Indian trail that the evacuees from Fort Dearborn used as they headed toward their doom in 1812, getting as far as what is today’s Eighteenth Street before hostilities began.  By the time the little town on the river was incorporated in 1833 rude streets had already fixed its boundaries – Knizie Street on the north, Desplaines Avenue on the west, Madison Street on the south, and State Street completing the square.  Michigan Avenue remained a well-traveled trail with “canal lands” to the east – the anticipated canal would originate, of course, at the mouth of the river and at the time the mouth of the river entered the lake at what is today Madison Street.  There were some shenanigans that occurred in the 1830’s, not the least of which involved an early settler, General John B. Beaubien, purchasing the reservation at Fort Dearborn for $94.61, a deal that the courts later ruled as illegal.  Still, the fort’s property was platted, the river straightened so that it breached the sand bar and ran roughly in the direction it runs today, and streets laid out, running north and south, from Madison Street to the river.  Beaubien Street, today’s Michigan Avenue, was one of those new streets.  In 1852 when the Illinois Central built a trestle to carry its trains to the river along the lakefront, its right-of-way was fixed, using the west boundary of Michigan Avenue – 700 feet to the east of the west line of Michigan Avenue was to be the west line of the Illinois Central’s boundary.  Using this calculation Michigan was extended to the southern city limits.  At that point the road had little importance – in fact, as the article points out an early woodcut shows that what is today’s scenic boulevard was little more than a landing place for rowboats traversing the lagoon formed by the Illinois Central’s berm and trestle and the area where today’s Art Institute of Chicago stands.  Note in the 1835 map above the new town of Chicago with a population of 350 souls has State, Wabash, Dearborn, La Salle and Wells Streets all neatly in place.  Michigan Avenue is nowhere to be seen, aside from the old Indian trail leading to where the entrance to the original fort was located.


January 9, 1978 -- Harry Caray agrees to return to his post as the radio and television announcer for an eighth season with the Chicago White Sox after threatening to take a hike unless he was given a substantial pay raise. The Chicago Tribune quotes Caray as saying, "Let's face it -- until last season the Sox were a depressed product. They were in deep financial trouble. I went along without any raise primarily because of Bill Veeck. I was committed to helping him turn the club into a success. Now I think I should start making some money . . . If Brickhouse is making 150 grand, why should I make so much less?"

Monday, November 5, 2018

November 5, 1915 -- Lorado Taft Receives Backing of Parks Commissioners

jbartholomew photo
November 5, 1915 –The South Park Commissioners issue a formal denial which attempts to counter a popular notion that they “had ‘thrown down’ Lorado Taft, the sculptor and were trying to induce Auguste Rodin, the noted French sculptor, to come to Chicago to beautify the Midway Plaisance.” [Chicago Daily Tribune, November 6, 1915]Charles Hutchinson, a member of the South Park Board, says, “Mr. Taft is to be given the opportunity now to do the biggest thing in his life.  It is his ‘Fountain of Time.’ Under his contract he is given ten years in which to perfect his working model, and for that model alone we have given him $50,000. He has been working three years on it.” It is expected that, when erected, the Taft’s monumental sculpture will cost over a quarter-million dollars.  The president of the South Park Board, John Barton Payne, is emphatic in his backing of Taft.  “There is not a word of truth in the gossip that the commissioners are negotiating with Rodin or ever thought of such a thing,” he says.  With the support of the commissioners, the project moved on and was finally completed in 1920.  The final work was only a small portion of the original scheme proposed for the Midway Plaisance.  According to the UCHICAGOArts website the original plan included a “Fountain of Creation” at the Midway’s east end in Jackson Park with a canal running the length of the Midway, “traversed by bridges and lines with avenues of commemorative sculptures.” [arts.uchicago.edu] The grand beaux arts scheme lost favor after World War I as “critics began to view the costly proposal as pedantic and anti-modern.”  In the end, even the 120-foot wide sculpture was compromised, finished in concrete instead of the marble that was originally proposed.  Still, it makes a heck of a statement as it stands on the west end of the Midway Plaisance. 


November 5, 1912 – In a public hearing before Colonel George A. Zinn, the army engineer in the city, the Patawatomi tribe formally protests the construction of a bridge at Michigan Avenue and the river.  Attorney W. E. Johnson asserts that the Patawatomi own a large portion of the south shore of Lake Michigan, saying, “The site of the proposed bridge the city is seeking the right to erect is outside of the domain of Illinois and Chicago.” [Chicago Daily Tribune, November 5, 1912] The head of the rivers and harbors committee of the Chicago Association of Commerce answers that the committee is not ready to file formal objections to the plan and delays the hearing until November 20.  A lot of water has gone under the bridge since the Potawatomi laid claim to this section of the city over a century ago as the above photo clearly shows.


November 5, 1998 – The architecture critic for the Chicago Tribune, Blair Kamin, prints the sixth of a series of articles on plans for Chicago’s lakefront, in which he takes Mayor Richard M. Daley to task for “shying away from the bold moves necessary to get the job done” when it comes to shaping the downtown lakefront.  In the article Kamin looks at three lakefront attractions and assesses the potential and the plans for each of them.  “Navy Pier,” Kamin writes “enables us to sample the carnival midway pleasures of urban life, yet it causes suburban-style pain, particularly through the traffic jams that result from funneling thousands of cars through already-busy Lake Shore Drive and narrow feeder streets.”  Turning south to Soldier Field, Kamin says, “Wouldn’t it be wiser to look at what Soldier Field and its environs could do for the lakefront 365 days a year, not just during the 10 regular season and exhibition games that the Bears play . . . whether the Bears leave or stay, Soldier Field can be transformed from a stadium in a parking lot to a stadium in a park.”  Then, moving to the east, Kamin takes up the issues surrounding Meigs Field.  “Meigs must go,” Kamin writes.  “To stand on this peninsula – to be removed from the clamor of the city and glimpse the stunning views it affords of the skyline and the south shoreline – is to realize that Meigs is an anachronism.”  What Kamin urges is something he calls “a new architecture of both landscape and public policy.”  He recommends appointing a “powerful lakefront commission that would coordinate the efforts of the dizzying array of agencies that control the lakefront, seeing to it that the more than $500 million in projects planned for the next 12 years – roads, buildings, and revetments – turn into an ensemble that is more than the sum of its parts.”

Tuesday, August 21, 2018

August 21, 1886 -- Grant Memorial Models Place on Display


August 21, 1886 –The trustees of the Grant Monument Fund place 14 models on display at the Art Institute in a competition for the best proposal.  Awards in the amount of $500 for first place, $300 for second and $200 for third are being offered for the designs.  The models have been prepared on a scale of two inches to the foot. Two are from Florence, Italy, one is form Cincinnati, one from New York, one from St. Louis and four are from Chicago.  The remaining five proposals come from various places in New England. As part of the design competition specifications and estimates of cost were required, and the average expenditure comes in at about $20,000.  The first prize ended up going to a Cincinnati artist, Louis T. Rebisso, who emigrated from Italy in 1857.  Francis M. Whitehouse, a Chicago architect, was responsible for the base and plinth on which the equestrian statue sits.  Despite its being a Lincoln Park fixture today, at the time Chicago sculptor Lorado Taft, called the monument “a nondescript pile of masonry” topped by a sculpture with “a complete lack of artistic distinction.” [chicagopublicart.blogspot.com]  The cost of the memorial was underwritten by nearly 100,000 individuals and was dedicated in 1891.


August 21, 1933 – More than 1,000 teachers and other school employees in the city come to the offices of the Board of Education in the Builders’ Building at LaSalle Street and Wacker Drive in order to receive their share of $1,250,000 in 1931 tax anticipation warrants.  They exchange the scrip issued two years earlier for the warrants that can be turned into cash.  When the exchange begins in the morning, over 100 people are waiting in line.  Between January of 1931 and May of 1933 teachers were paid their monthly salaries only three times. By 1933 Chicago school district employees were owed $22.8 million. In place of their regular salaries the teachers received “scrip” that could then be redeemed at businesses and banks, most of which did not honor the full value of the paper. Earlier in 1933, on April 24, five thousand teachers moved on five of Chicago’s largest banks, “confronting bankers, trashing offices, smashing windows, and throwing ink on the walls.” [https://www.dailykos.com/stories/2012/8/2/1116048/-The-Chicago-Teacher-Revolt-of-1933] Other demonstrations followed, prompting one teacher to observe, “Few of us are the sweet complacent, non-thinking 100 percenters that we used to be. Our eyes have been opened … After four years of learning that bankers are our worst enemies, that politicians are interested in our votes and power only and use our children merely as pawns in their selfish games, that we can depend on no one but ourselves, we cannot be restored to our previous complacency.”  It would not be until 1934 that an infusion of federal money would allow the teachers of Chicago to receive actual paychecks again as well as the back pay owed to them.  The original Builder's Building is pictured above.  It is considerably larger today as the result of a 1986 addition.


August 21, 1976 – The Chicago Tribune reports of a demonstration by nearly 100 cab drivers at the Civic Center, protesting a ruling by the city commissioner of consumer affairs, Jane Byrne, that they must wear uniforms.  The ruling, due to take effect on September 7, causes anger among the cabbies who say that over the preceding year three drivers have been killed, seven shot, one had his throat cut, and another suffered amputation of a leg as a result of a robbery.  Uniforms will just make them a more recognizable target when they are away from their cabs, the drivers say.  One driver says that he has to drive 16 to 18 hours a day to make a living, and that there is not enough money to buy and maintain a uniform.  Jane Guthrie, a driver for three years, says, “How can the city tell self-employed persons to wear uniforms . . . If your cab breaks down in a bad neighborhood it’s bad enough getting out without having to wear a uniform which advertises that you’re stranded and have money on you from driving.”  [Chicago Tribune, August 21, 1976]

Thursday, November 30, 2017

November 30, 1976 -- Noguchi Dedicates Sculpture at Art Institute



November 30, 1976 – Isamu Noguchi dedicates his outdoor sculpture at the Art Institute of Chicago, a monumental piece standing on the east side of museum, facing Grant Park.  The fountain, commissioned to celebrate the bicentennial of the United States, is made up of two 40-foot pieces of granite and stainless steel, one horizontal and the other vertical and V-shaped.  The forms are set in reflecting pool with that will allow year-round operation.  The $250,000 piece is another sculpture that comes from the Ferguson Memorial Monument Fund.  Naguchi says, “I am always astonished that things work so well in Chicago when they don’t seem to elsewhere.  Chicago has always been a great place for me.  This is a very happy day in my life.” [Chicago Tribune, December 1, 1975] At the dedication it is also announced that the Chicago Park District has passed a resolution to place a monumental outdoor sculpture at the northeast corner of Fullerton Avenue and Cannon Drive.  Eventually Ellsworth Kelly would be chosen for that work.  In 1981 his Curve XII, known as his “I Will” sculpture was installed at the location named five years earlier.  Naguchi may have jumped the gun on his amazement that things work so well in the city.  His work, as one can see from the photo above, was not working all that well this summer and seems to have been largely forgotten.


November 30, 1951 – At a meeting of the Irish Fellowship Club of Chicago at the Morrison Hotel proposals are put forth to bring the only Nazi submarine ever captured at sea to Chicago.  The plans have the United States Navy towing the U-505 from Portsmouth, New Hampshire, where it is anchored, to Chicago, where it will be placed on a foundation near Buckingham Fountain.  Jack Foster, a naval reserve officer, tells the crowd that a Chicagoan, Admiral Dan Gallery, commanded the anti-submarine task force that captured the German U-boat and its top-secret codes and that makes Chicago the appropriate final resting place for the captured sub.  The head of the Irish Fellowship Club, Dunne Corboy, appoints an engineering consultant to head a committee that will study the proposal.  The new effort comes after the Science Museum in Hyde Park gives up its efforts, citing the prohibitive costs involved in the operation.  The U-505 finally comes to Chicago in September of 1954, as a result of a renewed effort on the part of the museum.  The photo above shows the U-boat just east of Michigan Avenue as it arrived it the city in 1954.

Wednesday, July 12, 2017

July 12, 1955 -- Milton Horn Sculpture Announced



July 12, 1955 – The architect of the city’s Bureau of Engineering, M. J. Glicken, says that a sculpture of “a woman with other ornamentation” [Chicago Daily Tribune, July 13, 1955] is being readied for placement on a city parking garage at Wacker Drive and State Street.  The bronze sculpture, which is 12 feet high and 14 feet wide and weighs three tons, is the work of sculptor Milton Horn, whom Mayor Richard J. Daley personally asked to create the monumental work that would show Chicago’s important place in the country and the world.  Controversial from the beginning, the sculpture was taken to the city’s bridge repair shops at Thirty-First Street and Sacramento Avenue when the garage was torn down in 1983.  Ignored for nearly 15 years it was restored for ten times the amount that the original commission brought Horn.  Today the sculpture hangs from the northwest portal of the Columbus Drive Bridge.  More about the sculpture and its creator can be found in Connecting the Windy City here.


July 12, 1970 – The Chicago Tribune reports on a challenge against the Public Building Commission of the city, involving the right to reproduce the image of the Picasso sculpture.  In its suit, filed before Federal Judge Alexander J. Napoli, The Letter Edged in Black Press, maintains that Pablo Picasso gave the work of art to the people of Chicago, not to the building commission.  The suit uses statements of Mayor Richard J. Daley and architect William H. Hartmann at the dedication ceremonies for the sculpture in 1967, in which both men talked of the artist’s gift “to the people of Chicago,” to support its assertion. The building commission responds that much was done to secure the rights for reproduction, including “securing from Chicago a written deed of gift which gave them the right to secure a copyright, affixing the copyright notice to the rear of the sculpture’s metal base, registering and securing a copyright claim, and notifying the public of its licensing policies.”  [Chicago Tribune, July 12, 1970]  The commission further maintains that the deed of gift which Picasso signed, giving the commission the right to reproduce the sculpture is the same as a copyright.  Incidentally, the official website of the CIty of Chicago proclaims to this day that "Picasso gave the sculpture as a gift to the people of Chicago."  The photo above was taken when the sculpture was dedicated on August 15, 1967.

Friday, April 14, 2017

April 14, 1905 -- Ferguson Fund Announced



April 14, 1905 – The will of Benjamin Franklin Ferguson is filed in Probate Court, revealing that the lumber merchant has provided a trust fund that the trustees of the Art Institute will manage in the amount of $1,000,000.  The fund will be known as the B. F. Ferguson Monument Fund and it is to be “entirely and exclusively under the direction of the board of trustees of the Art Institute of Chicago in the erection and maintenance of enduring statuary and monuments, of stone, granite, or bronze, in the parks, along the boulevards, and in other public places commemorating worthy men and women of America or important events of American history.”  [Chicago Daily Tribune, April 15, 1905]  The director of the Art Institute, William M. R. French, says of the bequest, “Chicago already is fortunate in possession of a number of notable pieces of art, work of a character that is not surpassed in any city.  The city’s future in art is now assured, and it is great.  I do not remember of ever having heard of such a fund being established before.  It is a splendid thing.  It will give encouragement to our local sculptors, and not only will keep them here but will attract the best talent from elsewhere.  It is a long step toward making Chicago the ‘city beautiful.’”  Sculptor Lorado Taft says, “For eighteen years we have hoped that some incentive would be furnished for the establishment of a school of sculpture in Chicago, and now it seems too good to be true that the incentive has come.”  The photo above shows the Lorado Taft's "Fountain of the Great Lakes," the first sculpture to be commissioned by the Ferguson Fund.


April 14, 1925 -- Grover Cleveland Alexander leads the Cubs to an an 8 to 2 victory over the Pittsburgh Pirates as 40,000 fans watch. Reporter Irving Vaughn shows sports reporting the way it used to be done . . . " [Grover Cleveland Alexander] swung that good right arm and that trusty bat and when the last ball had been lifted into space for the final putout a howling mob of enthusiasts poured out of the north side park to spread the news that Bill Killefer's Cubs had marked their opening battle of the National league's jubilee year with a clean, thrilling triumph over the best the Pittsburgh Pirates could offer."  [Chicago Daily Tribune, April 15, 1925] Alexander, a 14-year veteran, went the distance while going 3 for 3 at the plate, hitting a home run in the second, a double in the fourth, and a single in the seventh that drove in a run, the last hit described this way -- "[Alexander] came up again in the seventh. There were three Cubs on the corners and young Mr. Yde was tottering. Alex cracked him for a single that drove in one run and a few minutes later five more Bruins and planted their spikes on the counting station." The Cubs finished the season in the cellar. losing 86 games. The Pirates, vanquished so handily by Grover Cleveland Alexander in the season opener, won the championship with 95 victories.