Art Complex Museum

Outdoor Art


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 Bakalar

Born 1924 in Boston, Massachusetts. Lives and works in Brookline, Massachusetts.

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David Bakalar, Wheat, 1990, Anodized aluminum with applied “Scotchcal” tape.
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 Brennen

Born 1952 in Boston, Massachusetts. Lives and works in Duxbury, Massachusetts

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Kristine Brennen, High Point, 2007, Sedimentary river stone, ACM 2009.07

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 Brown

Born 1948 in Philadelphia, Pennsylvania. Lives and works in Norwell, Massachusetts

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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 motion.

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 and death.




Christopher Frost

Born 1966 in Boston, Massachusetts. Lives and works in Somerville, Massachusetts.

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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 Greenamyer

Born 1939 in Cleveland, Ohio. Lives and works in Marshfield, Massachusetts.

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George Greenamyer, Five Shaker Houses, 1976, Painted steel, ACM 86.01

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 Ihara

Born 1928 in Paris, France, raised in Japan. Lives and works in Concord, Massachusetts

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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 Javan

Born 1936 in Pennsylvania. Lives and works in Marina del Rey, California.

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Marjorie Javan, Memorial to Makoto Yabe, 2006, clay, ACM 2006.15

This sculpture, dedicated to Makoto Yabe, was inspired by prehistoric stone circles of the late Jomon period in Japan (2500-1000 BCE).


Miriam Knapp

1935-2012, Born in Paris, France. Lived and worked in Boston, Massachusetts.

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Miriam Knapp, Nordkapp, 1984, bolted aluminum, assembled wood base, ACM 87.36. Gift of David and Sandra Bakalar



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Miriam Knapp, Longyear, 1984, bolted aluminum, assembled wood base, ACM 87.35

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 McGoff

1927 - 2011, Born in Kingston, Massachusetts. Lived and worked in Marshfield, Massachusetts.

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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 parabaloid.


Nishimura

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Nishimura, Seven Story Pagoda, 1968, Carved granite, ACM 75.02

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 North-east Kyoto.


Gary Nisbet

Born 1956 in Glendale, California. Lives and works in Hingham, Massachusetts.

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Gary Nisbet, Wallflower, 2014, Discarded cinder blocks and fragments
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 Phillips

Born 1944 in Flint, Michigan. Lives and works in Boston, Massachusetts.

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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 is
fabricated in Phillips signature style in which he combines natural forms with cast materials.


Kitty Wales

Lives and works in Wrenthem, Massachusetts.

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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 Wilcox

Born 1949. Lives and works in Boston, Massachusetts.

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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 exhibition.

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 volume.






The Art Complex Museum / 189 Alden Street / Box 2814 / Duxbury, MA 02331