Public Art

  • Morphous Helen Day



    On view July – November, 2017
    Helen Day Art Center
    90 Pond Street, Stowe, VT

    Lionel Smit’s monumental sculpture Morphous will move location from Union Square, NYC to Helen Day Art Center to be on view from July through November.

  • Anne Lindberg Aertson



    Site-based Installation Commission
    Midtown Aertson Hotel, Nashville, TN

    Working with subtle gradations of coral and red-hued threads, Anne Lindberg has created “redberry,” an installation made entirely of Egyptian cotton thread for the lobby of the vanguard new hotel, the Aeration, opening this month in Nashville, TN. An ombre of color that defines and enhances the architectural boundaries of the hotel’s lobby, “redberry” brings a tremendous vibrancy to the space, despite its minimal material. Collectively, the thousands of discrete threads, each individually placed, create a visual environment saturated with intense, dynamic color. Lindberg’s installation is a key artwork of the hotel’s new and unique, curated collection, and a wonderful example of the overall goal of this curatorial project.

  • Mabel Poblet Venice Biennale



    May 13 – November 26, 2017
    Cuban Pavillion, Venice, Italy

    Open to the public from Saturday, May 13th to Sunday, November 26th, 2017, at the Giardini and the Arsenale, the 57th International Art Exhibition, titled VIVA ARTE VIVA, will be curated by Christine Macel and organized by La Biennale di Venezia chaired by Paolo Baratta. The preview will take place on May 10th, 11th and 12th, the awards ceremony and inauguration will be held on Saturday, May 13th, 2017.

  • Gary Haven-Smith Outdoor Sculpture


    Gary Haven Smith

    On view through summer 2017
    The Barn @ 28 Main Street, Walpole, NH

    Gary Haven Smith creates abstract sculptures and paintings that explore the boundaries between the enduring aspects of past cultures and the fast-paced, technologically driven nature of modern life. While his granite sculptures may retain some of their natural qualities in form and surface, by utilizing the subtractive process of carving, Smith imposes geometric shapes, hard angles, and pierced forms into the stone. He creates visual passageways that pull our attention through the age of the stone to our contemporary world on the other side. These industrial facets are interspersed with more human-like, almost playful marks—gentle spirals and wavy lines—and often the addition of color. He takes full advantage of the ways in which light can add both clarity and a sense of mystery to three-dimensional forms.