The Art Complex Museum is sited on 13 acres that includes fields, woods and a small
pond. Since opening in 1971, outdoor sculpture installations have extended the
“gallery” spaces of the museum.
David BakalarBorn 1924 in Boston, Massachusetts. Lives and works in Brookline,
David Bakalar, Wheat, 1990, Anodized aluminum with applied
On loan from Dr. David and Mrs. Sandra Bakalar
Dr. Bakalar studied physics at the undergraduate and graduate level at Harvard and
received a doctorate in physical metallurgy at MIT. Bakalar’s formal references
for the Helical Man series are Gabo, Pevsner and the Constructivists. The subject is
genetics and the DNA helix. Bakalar describes his work: "I've always been fascinated by
the codes and molecules that are the Life Force. My sculptures, subject to multiple
interpretations, abstractly reflect the complexity of this force and our common
identity with all of nature."
Kristine BrennenBorn 1952 in Boston, Massachusetts. Lives and works in
Kristine Brennen, High Point, 2007, Sedimentary river stone, ACM
After a twenty-five year career in Electronics Manufacturing, Brennan graduated from
Massachusetts College of Art and Design in 2006. She combines landscape and stone work
to make whimsical art and outdoor living spaces in the garden. "In 2007 I was in a
stone yard on the Rhode Island/Connecticut border looking for granite for a landscaping
project. I glanced in the woods and noticed these sedimentary rocks that were mostly
covered with debris, indicating they had been there for quite a while. I immediately
envisioned the bench. The colors in the stone compliment the facade of the Museum and
the shape mimics the roof line. I feel like I was facilitating the inevitable and this
bench was meant to be there as if the peaceful giant slumbers outside the museum but
also greets people as they enter."
Rick BrownBorn 1948 in Philadelphia, Pennsylvania. Lives and works in Norwell,
Rick Brown, Butterfly Effect, 2011, Concrete, Wood and steel
On loan from the artist.
Rick Brown's site-specific sculpture comprised of numerous concrete spheres and
rectangular rods will be displayed for several years. The concept of Butterfly Effect
is based on the passage of time and resultant change. Unrelated occurrences might spur
the artist to return to the site, and these moments would therefore be associated with
the artwork. Over time, the sculpture could be completely altered, and will never
return to its original configuration, demonstrating the impossibility of ever fully
reversing past actions. As in nature, Brown's work will be in constant flux and
The weightiness of the sculpture's concrete pieces is countered by its potential to
be moved and reconfigured. Butterfly Effect demonstrates a metamorphic process and,
like a caterpillar that develops into a butterfly, the sculpture will evolve as the
artist sees fit. At first glance, the piece appears disordered, but at its core exists
a purposeful plan. The spheres and rectangular rods create an interlocking, woven
pattern echoing the design of a cocoon. The rods are the "fibers" holding the spheres
together in a mass that represents the "butterfly"—the entity that will undergo
transformation.The sculpture has a light and airy look. Each time it moves, it becomes
something different as it rearranges the space around it. The sculpture’s jagged
top mirrors the surrounding jagged topped pine trees, the gold-plated panels reflect
the clear blue sky, and the rotating curved metal holds the same undulating shape of
the art museum’s roof and its rolling grounds.
Brown's sculptural works are large-scale environmental installations reflecting
their pleasure in the physicality of building. Pieces are generally site specific
installations, which always present a number of unknowns in and on a unique location.
Each new piece presents a new set of challenges and there always exists the possibility
that a piece could fail. These components result in a dynamic working environment that
they perceive as a learning/making adventure! His work is influenced by family, nature,
travel, culture and history. Often the pieces are ephemeral and have what they call a
‘natural life’ reflecting a sense of time or suggest notions of birth, life
Christopher FrostBorn 1966 in Boston, Massachusetts. Lives and works in
Christopher Frost, Im Walde (after Klinger), 2003, Bronze
On loan from the artist.
This sculpture was created for the 2003/04 exhibition Collection Connection: Boston
Sculptors at The Art Complex Museum. The sculpture was inspired by Max Klinger’s
print Im Walde (In the Woods) from the ACM collection. Frost was intrigued with the
ambiguity of a letter left in the woods in the Klinger print. He began his education at
Bates College in Lewiston, Maine and then to Parsons School of Design, Paris, France.
He received a masters degree from the School of the Museum of Fine Arts in Boston. His
work revolves around the everyday object.The object as art. Exploring the object
through material, scale, juxtaposition, and context. Encountering the ordinary (be it
hat, fish or castle) through a new perspective can create unexpected, humorous and
dynamic interpretations.In his public artwork the 'object as art' combines with
specific histories of the artwork's location. Christopher Frost is primarily interested
in issues of time, memory, and community. His works often employ familiar objects
strongly evocative of history and place The inclusion of local history creates a
narrative which connects the artwork to the community and the site.
George GreenamyerBorn 1939 in Cleveland, Ohio. Lives and works in Marshfield,
George Greenamyer, Five Shaker Houses, 1976, Painted steel, ACM
Seven and a half feet high, this six wheeled train and stage rides on elevated tracks
that become the sculptural direction of the work and its physical base or pedestal.
Five uniform and highly simplified structures ride in perfect horizontal alignment on
top of the vehicle. These forms were influenced by the artist's admiration for the
simplification, minimalism and honesty of form to function employed by Shaker
carpenters. It is this simple design and superb craftsmanship that makes Shaker work so
highly prized today. The sculpture calls attention to the significant number of Shaker
objects that are an important part of the ACM collections. In this work Greenamyer
contrasts the utopian imagery of Shaker architecture (modeled after the Mt. Lebanon,
N.Y. meeting house) with military imagery of ironclad ships. "The notion of the home or
hearth is built into all of this - the need of security, stability and sanity. This
piece is also adventure. The wheels suggest that it goes somewhere, travel, see the
world, implied kineticism, stored energy. Going somewhere but taking houses with you,
like a turtle. The idea of being busy, good craftsmanship, being honest and all the
things which are implied in the Shaker religion, I think are fine things to do. The
wheels came from the Edaville Railroad scrap heap. The piece was electric arc welded
and is made out of an alloy called mild steel. there are smoke stacks at each end. The
steam vent on the tops shows there is power packed inside. The stacks may also be
considered as sculputral balance - one equals the other." "First and foremost I
consider myself a regional narrative sculptor. Much of my inspiration comes from
structural engineering, Shaker furniture, folk art, Jules Verne, Yankee tinkering,
military hardware, architecture and various visual utopias procuded by naive
artists...I work in steel which is vandal and weather-resistant and designed to be
easily assembled on site"
Michio IharaBorn 1928 in Paris, France, raised in Japan. Lives and works in
Michio Ihara, Wind Sculpture, 1989, Stainless steel and gold-plated
stainless steel, ACM 89.11
The sculpture has a light and airy look. Each time it moves, it becomes something
different as it rearranges the space around it. The sculpture’s jagged top
mirrors the surrounding jagged topped pine trees, the gold-plated panels reflect the
clear blue sky, and the rotating curved metal holds the same undulating shape of the
art museum’s roof and its rolling grounds. He has focused his creative energies
on sculpture for environmental and architectural installation. “Ihara works with
stainless steel, with brass and copper, but mainly he works with space. His large
sculptures, carefully organized and proportioned, are condensations of their
surrounding space. Air and light freely flow through their transparent structure and
thus become an integral part of it. Clusters of small shiny parts vibrate with the
currents of air, and create an image of living and breathing forms. As a result,
Ihara’s sculptures seem almost weightless, as if they were merely a pattern of
light beams, or a cascade of glittering reflections”
Marjorie JavanBorn 1936 in Pennsylvania. Lives and works in Marina del Rey,
Marjorie Javan, Memorial to Makoto Yabe, 2006, clay, ACM
This sculpture, dedicated to Makoto Yabe, was inspired by prehistoric stone circles of
the late Jomon period in Japan (2500-1000 BCE).
Miriam Knapp1935-2012, Born in Paris, France. Lived and worked in Boston,
Miriam Knapp, Nordkapp, 1984, bolted aluminum, assembled wood base, ACM
87.36. Gift of David and Sandra Bakalar
Miriam Knapp, Longyear, 1984, bolted aluminum, assembled wood base, ACM
Knapp worked with personal imagery that often relates to both urban structures and
natural land forms. Nordkapp takes its inspiration from the fjords of Norway. The
layering of black sheet aluminum evokes memories of old photo albums. Her works recall
nature as a whole, rather than specific places. We may be reminded of landscapes we
know....but above all we are reminded of the profound relationships that lie beneath
the seemingly endless variety of the world around us. their edges, bumpy or rolling
smoothly aong, suggest landscapes - precipitous mountain ranges in some cases. The
layers also suggest age, like a cross section of a tree trunk or a geological
formation. "In my career as a sculptor...I have developed a personal imagery that
relates to urban structures and land forms. The shapes I create are abstract and
organic yet suggestive of recognizable objects in our environment. ...I work, as an
artist, at the interface between the existing environment, both built and natural, and
my interior visions. My focus has been on how one shape affects another and the way the
edges of these shapes catch and reflect the light, drawing clear and lyrical lines in
space or casting shadows."
George McGoff1927 - 2011, Born in Kingston, Massachusetts. Lived and worked in
George McGoff, Crest of the Wave, 2006, Painted red cedar, stainless
steel threaded rod and screws, waterproof glue
Generated from purely strait lines, McGoff’s curved forms are reminiscent of
nature but also inherently mathematical. The visual effect of curved lines generating
from straight ones, as seen in Crest of the Wave is known as a hyperbolic
Nishimura, Seven Story Pagoda, 1968, Carved granite, ACM
This pagoda is a copy of one in the Garden of the Katsura Detached Palace in Japan. The
components, from bottom to top are: a base, a stand, a Buddha, roofs 1-7 and a top
finial. This was carved at Nishimura Stone Lanterns, a fifth generation carving shop in
Gary NisbetBorn 1956 in Glendale, California. Lives and works in Hingham,
Gary Nisbet, Wallflower, 2014, Discarded cinder blocks and
On loan from the artist.
Wallflower was constructed out of discarded cinder block fragments from the
demolition rubble of a graffiti site in Wompatuck State Park, Hingham, MA.
Nisbet’s Wallflower celebrates and pays homage to the virtually unknown
street painters who created the wall paintings at Wompatuck. Wallflower, which
is 31 feet long, mirrors the undulating lines of the Museum’s design in three
ways. First in the sinuous line of the sculptures path, second, in the wavelike motion
of the line created by the top of the sculpture, and lastly in the rising and falling
lines of the painted surfaces Nisbet pieced together.
As a young artist Gary Nisbet apprenticed under the master muralist Anthony Heinsbergen
in Los Angeles, working on the restoration and decoration of historical landmark
buildings through out the country that Mr. Heinsbergen had decorated from the 1930s
through the 1970’s.
David PhillipsBorn 1944 in Flint, Michigan. Lives and works in Boston,
David Phillips, Trilith, 1985, cast bronze with cut stone
This sculpture was first shown at the ACM during the 1985 Way of Tea exhibition. It
fabricated in Phillips signature style in which he combines natural forms with cast
Kitty WalesLives and works in Wrenthem, Massachusetts.
Kitty Wales, Requiem, 1997, Steel and tin
Direct observation of nature is an important element of Wales’ work.
Requiem is modeled after the Caribbean Reef Shark because Wales is attracted to
the sharks fluidity, streamlined shape and graceful lines.
Leslie WilcoxBorn 1949. Lives and works in Boston, Massachusetts.
Leslie Wilcox, Kimono, 2003, Stainless steel
On loan from the artist.
Wilcox created Kimono for the 2003/04 ACM exhibition, Collection Connection:
Boston Sculptors at The Art Complex Museum. Wilcox was inspired by the
museum’s emphasis on Japanese culture, art objects, tea ceremony and Asian art.
This Kimono is a variation of the two she exhibited in the Boston Sculptor's
Wilcox's sculpture is constructed of various metals including stainless &
galvanized steel, aluminum, bronze, copper and brass screen, along with thin lead sheet
and wire. While figurative in nature, the work has implications that take it beyond the
human form both in scale and intent. The translucency of the screen emphasizes the
absence of the figure with a clearly "implied presence" and creates a fresh approach to
weightlessness. Humor is also an integral part of this work as it expands the human
form by means of exaggerated scale and subjective context. The goal with this work is
to redefine the body's organic shape while maintaining an awareness of its form and
The Art Complex Museum / 189 Alden Street / Box 2814 / Duxbury, MA 02331