HomeMy WebLinkAboutSculpture Donation - Michael Bigger Marfa CITY OF PALM DESERT
COMMUNITY SERVICES
STAFF REPORT
REQUEST: CONSIDERATION TO ACCEPT THE SCULPTURE
"MARFA" BY MICHAEL BIGGER AS A DONATION TO THE
PERMANENT PUBLIC ART COLLECTION
SUBMITTED BY: RICHARD L. TWEDT
APPLICANT: MICHAEL BIGGER
2226 27T", AVE. SOUTH
MINNEAPOLIS, MINNESOTA 55406
DATE: NOVEMBER 20, 2008
CONTENTS: 1. COLOR PHOTOGRAPH OF ARTWORK
2. ARTIST STATEMENT AND RESUME
3. LETTER OF DONATION INTENT
Recommendation:
By Minute Motion, accept the donation of "Marfa" by Michael Bigger to Palm
Desert's permanent public art collection.
Executive Summary:
At its meeting of October 29, 2008, the Art in Public Places Commission
unanimously approved the sculpture "Marfa" by Michael Bigger to be added to
Palm Desert's permanent public art collection. Staff noted to the Commission
that "Marfa" was in the 1998 EI Paseo Exhibition and is valued at $18,000. The
Commission rejected the "Texas Totems" pieces as part of the donation, due to
the small scale of the artworks.
Discussion:
Michael Bigger approached staff with the proposed donation of three sculptures
to the City's permanent public art collection. Staff informed the artist of the
process for donation of artworks to the City's permanent collection that included
approval by the Art in Public Places Commission and City Council. The Art in
Public Places Commission approved "Marfa" to be added to the permanent
collection.
Mr. Bigger is represented by the Desert Art Collection located on San Luis Rey
and EI Paseo where the sculptures are currently installed. Mr. Bigger is a well
known and respected artist from Minneapolis, Minnesota who has exhibited
throughout the United States. He also has sculptures in over three dozen public
and corporate art collections in the United States, Canada, and Mexico.
Submitted by: !
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� Ri ard Twe , Public Arts gr. Sheila Gilligan, Assistant City nager
Community Services
Approval:
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Carlos Orteg City Manager Paul Gibson, Director of Finance
;;ITY COUNCIL ACTION:
�#PPROVED �.�__ DENIED
RECE I�IED OTHER �.,
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AYES: �
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iIERIFZED BY:
;'�riginal. on File wit City Clerk' s Offi�E.
Michae) D. Bigger, 5culptor tel/fax (612) 722-7628
2226 27th. Avenue South
Minneapoli5, MinneSota 55406
www.michaelbigger.com
mbigger1@earthlink.net
www.m na rti 5t5.org
www.ab5oluteart5.com
www.a rC i 5t 5 reg i 5te r.c o m
I�ichard Twedt 10/25/OS
1'ublic ArtS
72-567 Highway 111
City of i'alm DeSert, CA 9226
Dear Mr. Twedt,
In 1999, my 5culpture titied "MAKFA" wa5 inciuded in your EI pa5eo Exhibition.
When I delivered "MAIZ�A", I al5o dropped off four other 5culpture5 at the Fedderly
Gallery. Jana Koroczyn5ky ha5 a5ked me to remove my 5culpture5 which i5 not
unexpected, given that they have been there almo5t 10 year5. I have only three
5culptures left that need to be removed, and they are -- "MAi��A", "TEXAS TOTEM #1",
and "TEXAS TOTEM #2".
I would like to donate the5e three 5culpture5 to the City of f'alm DeSert. The
donation i5 my idea and ha5 nothing to do with the Fedderly Gallery or Jana
Koroczyn5ky. The City would be re5pon5ible for picking up and tran5porting the5e
5culpture5 to whatever 5ite i5 cho5en. The City ha5 the nece55ary ec�uipment for
moving, 5uch a5 a 5mall truck crane and trailer to move "MARFA". The "TexaS TotemS"
can be placed manua(ly on a trailer; they weigh about 375# �. "MARFA" may have to
painted: if 50, u5e 12u5toleum 5afety Yellow. The "TEXAS TOTEMS" are oxidized 5teel
and rec�uire no maintenance. If nece55ary, 2" 5c�. x 1/4" thick 5teel tab5 with hole5
drilled through could be welded to the ba5e5 in an incon5picuou5 place to facilitate
fa5tening to a 5urface.
I own the5e 5culpture5 free and clear. My rea5on5 for donating them are partly
altruistic, partially reali5tic. I would like for them to find a good home and the City of
1'a(m DeSerC would be a perFect place. I'm 5ure there are many 5ite5 around the City that
would be 5uitable. On the practical 5ide, I no longer own the truck and trailer with which I
delivered them to i'alm DeSert. ConSidering the economy and flatne55 of the art
market, it i5 not financially 5en5ible for me to hire tran5portation for the5e 5culpture5,
5o therefore the donation. I hope The City will accept, I expect no recompen5e in return,
unle55 my phy5ical pre5ence i5 rec�uired.
Thank you for your con5ideration,
�
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Michael D, Bigger, culptor
.
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MICHAEL D. BIGGER. SCuI�Qr 1992: Minneapoli5/Ibaraki,Japan,6icter city
Competition finali5t.
Address: 2226 27th Ave.South Faculty iZeSearch 5ummer 6rant.
Minneapoli6, MN 55406 5t.LouiS Park iZotary,competition flnaliet,
E Ma(I mbiggerlC�earthlink.net St.Louis t'ark,MN
Tel.: (612) 722-7628 1984: Connemara Foundation,Dailae.
Internet: www.michaelbigger.com Exhibition Grant
Born: October 10,1937, Waukegan, Iilinofs. Okla.City Arts Council Exhibition Grant
1979: Manitoba ArtS Council 6rant:Serigraph
EDUCATION and EMI'LOYMENT 1978: Canada Council 6rant:f'roJect 6rant
Bachelor of Architecture, Miami Univer5ity> 1976� Manitoba Art6 Council 6rant:
Oxford,OH, 1966. I'ubitc 5culpture.
M.F.A. (5eulpture) iZhode 151and 5chool of DeSign, C,ALLERY AFFILIATIONS
t'rovidence, IZ.I., 1968.
Haystack Mountain School of Arts and Craftes. 5unne 5avage Gallery,Boston.
Deer lele, ME,5ummer, 1967, I'archman 5tremmel, 5an Antonio
teaching assistant5hip in glassblowing. Flandera Contemporary Art, Mlnneapolis
2003 -preaent: Sculptor. Art ReSource6, Minneapolis,St. 1'aul
1995-20D0-Herman Iron 1'our, steering committee and Niemi Fine Arty, Kenorha WI
pouring team captain. Fedderly Fine Art�,i'alm DeSert,CA
1989 to 2003 1'rofes5or, Minneapoli� www•ab5oluteart5.com
College ofArt and Design. www.mnartri5ts.org
1990 (9ummer) :�siting ArtiSt in Bronze GaSting, �Wa�ist5regi5ter.com
Univer5ity of Maine,AuguSta.
1981-88: A��istant i'rofessor,5culpture Department, EXHIBITIONS (5electedl
Univeraity of TexaS at 5an Antonio. 2008: Cedarhurst Biennial, Anderson Center, Red Wing.
1980: �siting Arti�t,University of Akron,OH. MinneSota Society of Sculptors,2nd place(Group)
1977-79: As6ociate 1'rofe�sor,Sculpture Dept. 2007: MinneSota Society of Sculptor5 (6roup)
University of Manitoba,�nnipeg. Del Mar. U.National(group)
1975-77: AsSietant Profe55or, Sculpture qepartment, Anderson Center for Interdircfpllnary 5tudfe�
University of Manitoba,Winnipeg. 2006: Texas National,5tephen F.AuStin U.(6roup)
1975 : ViSiting Critic,iZhode 151and 5chool of Del Mar U.Natfonal(6roup)
DeSign, 1'rovidence, RI. Flander5 Gontemporary(6roup)
1974-75: 5culpture Instructor, BrookS Academy, Minnesota 5culptor'e 5ociety,BeSt of 5how.(6roup).
N.Andover,MA. 2005: Flander5 Contemporary (Group)
Bicentennial Exhfbition�ConSultant and MinneSota 5cuptor's 5ociety(Group)
Designer, Univ.of MagS.,Bos�Gon. Minnetonka Art Center�ienniale
1974: ViSiting Lecturer, MaSsachu�ette College of Invitational
Art,BoSton. Art IZesource6 Gallery(6roup)
1973: Visiting Lecturer/Workshop, Univer5ity 2004 Niemi Gallery (St.John'�Group)
af Manitoba 5chool of Art,Winnipeg. Gallery 360(Group)
1970-71 : InStructor in Three-DimenSfonal Design, Mitwaukee Kiverfront 5culpture Exhibition,
Atlanta 5chool of Art,Atlanta,GA. (invitational)
1969-70: Technical instructor in Welding, 2003: Minneapolis College of Art and De�ign,
I�hode 161and 5chool of De�ign. (one -peraon retro5pective).
1967-69: 5culpture InStructor,WorceSter Art Museum, Minnetonka Center for the Ai-ts(Group)
Worce6ter, MA. Art ReSources Gallery(Group)
Gallery 360(6roup)
GRANTS. HONORS. AWARDS Art Holding5 Gallery(Group)
2008: Awarded Artist'e ReSidency, The Anderson 2002: WeStern Scuipture t'ark, 5t. i'aul. (Group)
Center for Interdieciplinary Studiet,Ked Wing, MN Franconia 5culpture I'ark,Shafer,MN,. (6roup)
2007: Awarded Artist's t�e5idency, The Anderson AnderSon Center for Interdisciplinary Studies,
Center for Interdiscip�inary Studier, Red Wing, MN IZed Wing,MN.(6roup)
2001: Member Franconia Sculpture Park Niemi Fine Art, Kenosha,WI.(6roup)
Board Of DirecCorS,5hafer, MN. 2001: I'ierwalk 2001, Navy�'ier, Chicago.(Group)
2000: DAfZT Competition finali5t,DallaS Western Sculpture F'ark,St. I'aul.(Group)
1999: DA(ZT Competition flnalist, DallaS Franconia 5culpture I'ark,5hafer, MN,. (6roup)
Bancroft-Bryant Gateway winner, Minneapolis 2000: Univer5idad Nacional Autonoma De Mexico,
1998: ECCO 6ateway,Competition finalist, 5an Antonio.(One per5on)
Minneapoli5 1'ierwalk 2000, Navy i'ier,Chicago.(6roup)
1996: Walker Library,Competition finali5t, U.of M.,MorriS,MN.(6roup
Minneapoliy 1999: The I'hippe Center for the Arts,HudSon,WI (9010)
1993-94: 5abbatical 6rant.ArtiSt-in-�e5idence The Iron GircuS. Univer5ity of Minneeota
at the Viilacero Corporation, Sculpture Department Invitational.(Group)
Monterrey, Mexico, 6 months, 1993. City of f'alm Desert Art in i'ublic 1'laces
a
+ M. D. Bigger. 5�r paae 2
1998: Niemi Fine Arts at 50FA,Ghicago COiZP01ZATE COLLECTIONS and COMM18510N5
The ArtS Council of BrazoS Valley and the City aP �Selectedl _
Coilege 5tation ,Art in I'ublic 1'laces College 5tation ArtS Council,Gollege Station,Texa6.
Juried Competitfon, Coliege Station, TexaS t'remier purchace of large scale exterior public art.
Franconia 5culpture t'ark 5ite 5pecific 5culpture. EvanSville MuSeum of Art�and 5cience5,
The f'Ihippe Center, Hudson,WI. (6roup) Evansville, Indiana.
1996: From !'rivate to Public, MGAD Gallery. Christ EpiScopal Ghurch, Dayton,OH.
(Invitational) Miami Univer5ity,Oxford,OH.
Flander5 Contemporary Art, MplS. Univer5ity of Hartford,Hartford,CT.
(Gallery Arti5t5) �unker Hill Community College, Charleston, MA.
The t'hipps Center, Artists Who Collaborate Cincinnati Zoological 5ociety,Cincinnati,OH.
With Architect5 and DeSigner5. Commis5ion for Monumental 5culpture.
CaSt Metal Invitational, Univer5ity of Oakland MuSeum of Art,Dakland>CA.
MinneSota, Morrie Atlantic Kichfield Collection, Lo5 Angele5,CA.
1995: IZaymond Avenue Gallery,MplS., Univer5ity of Manitoba 5tudent Association,
Mixed Bag,(5010) Winnipeg, Manitoba.
1994: Drexel 6allery, Monterrey, Mexico. (Group) The Dunfey Corporation,IZye, NH.
TEC HouSe, Monterrey, Mexico Embarcadero Center, 5an Franci5co, CA.
1993: InStituto Mexicano Norteamericano, VasSar College, I'oughkeep5ie, NY.
Monterrey, Mexico. (5010) Winnipeg Centennial Library,Winnipeg, Manitoba.
Flander5 Contemporary Art, MplS. I'rovincial Government of Manitoba I'ercent for Art
Drexel Gailery, Monterrey, Mexico. (Group) CommiSsion, Thompson, Manitoba.
TEC House, Monterrey, Mexico The Joy of Cooking Corporatfon,Cincinnati,OH.
1992: Flander5 Contemporary Art, MplS. First National Bank of i'enn5ylvania,Erie.
(6allery ArtiSts) Citizen5 FroSt Bank,5an Antonio.
1991: Adelle M.Gallery, DallaS. Dakwell FarmS Corporation,5an Antonio,TX.
(Gallery ArtiSt�) 5t.Luke'S HoSpital,5an Antonio,7X.
Minneapoli5 Coliege of Art and Design polar-BEK, International Park, Birmingham, AL.
Faculty Exhibition. 5an Antonio MuSeum of Art.
Flandery Contemporary Art. (Group) Univer5ity of Mexico,5an Antonio ExtenSion.
Jansen-i'erez,5an Antonio. Matthews and BranScomb,5an Antonio,TX.
1990: t'iper JafFray and Hopwood,Art at Work, Lutheran Brotherhood, Minneapolis, MN.
MplS.(6roup) City of 5an Antonio,Grown Park Instailation,
Jansen -Perez,5an Antonio.(Two-per5on) University of Maine, AuguSta, Monumental 5culpture.
Melnychenko 6allery>Winnipeg. (Group) Justin I'roperties, Deve►oper5,5t. t'aul, MN.
Henderyon and MaSsengill, HouSton. (Soto) Hamlin 1'ark 5culpture 6arden,5t.Paul, MN.
1989: Flancler5 Contemporary 6allery, 5teven5 Sauare Home, Minneapoli5, MN.
Minneapolis. (5010) Villacero Grupo, Monterrey, Mexico,
1988: TexaS 5culpture AeSociation,1988 Monumental Sculpture.
Member5hip 5how, DallaS American 5chool Foundation of Monterrey, Mexico.
Edith Baker Gallery,Dallaa T�C HouSe, Monterrey, Mexico,1994, 1995.
(Three-per5on) Javier 5anchez Architect5, Monterrey, Mexico.
iZead 5tremmel Gallery, 5an Antonio Plymouth Gongregational Church, Minneapoli5.
(Three-peraon) Wiregrae5 MuSeum of Art, Dothan, Alabama.
1987: IZead Stremmel Gallery Artist5. Koechel 1'eter5on &A55ociate5, Minneapoli5.
6th Annual Texas 5culpture 5ympo5ium, AnderSon Center for Interdisciplinary 5tudie5> IZedwing, MN
San Antonio.(Invitational) Waehburn Univer5ity,Topeka K5
TexaS�culpture A55oc.,1987 Nat.,DallaS
t'atronato De BellaS Artes,
Guatemala City.(5010)
5an Antonio Museum of Art Open. (Juried)
1987-60: Variou5 5010,group,and area exhibition5,
including the 1968 Whitney Annual, NYC
Michael Biaaer i5 a 5culptor with a national and international reputation, having executed work5
under commi55ion for the national and provincial government5 in Ganada,a5 weil a5 a number of civic and
corporate client5 in the United 5tate5. He ha5 placed work5 in many private and public coliection5. He ha5
been a profe55or of 5culpture at a number of univer5itie5 and ha5 5erved on numerou5 occa5ion5 a5 a
"vi5iting arti5t"to variou5 in5titution5 and univer5itie5. Though well founded in the academic world, he ha5
maintained an ongoing and prominent activity a5 a practicing arti5t.
Bigger'S 5culpture5 are clearly 5tated in dramatically 5imple form5 which project a vi5ual formality
through ab5tract geometric 5tructure5. Though 5haring a hi5torical ba5e in ConStructivi5m, Bigger'S work
i5 never derivative a5 he create5 5culpture5 characterized through the u5e of material5 and technologie5 of
hi5 environment and time. The u5e of material5 with non-hi5torical identity 5uch a5 5teel or gla5e po5e
particular challenge5 to the 5culptor, for they rai5e c�ue5tion5 of how to 5hape a relation5hip of di5parate
material5 to produce a work which join�them in giving logical form to the 5culpture. Therefore,the
indu5trial method5 and material5 reflect not only the practical con5ideration5 of making large 5cale
5culpture, but equally are the mean5 whereby Bigger can addre55 the interrefation5hip of form and materiai.
ThiS i5 e5pecially evident in hi5 5maller work5 in which mixed material5 clo5ely complement one another.
Bigger'S 5culpture5 exhibit a monumental c�uality whether they re5t comfortably on a table,grace a
wall or 5tand impo5ingly in a land5cape. The term `monumentality',a5 u5ed by architect5,art hi5torian5 or
critic5, ha5 really little to do with 5ize a5 much a5 a 5en5ibility of experience. The term really relate5 to the
eFfect that a work e5tab(i5he5 through it5 form5, proportion5 and phy5ical pre5ence. However large or
5mall the 5culpture may be, it i5 the interaction with and articulation of the 5pace around it which
produce5 thi5 experience of the`monumental'. Bigger'S large outdoor work5 are often chalienging in their
5heer phy5icality a5 the viewer walk5 around, and 5ometime5 under or through, them. In contra5t to
the5e large `land5cape'work5, Bigger project5 a whim5ical c�uality in a number of hi5 5maller`table'work5,
with their mixed material5 and bright cofor5. It mu5t al5o be noted that hi5 5mall 5cale work5 maintain a
5en5e of being 5eriou5 5culpture, while avoiding becoming decorative or"preciou5' object5, which i5 a
difficult thing to accompli5h. It i5 obviou5 in hi5 5culpture5 that Bigger i5 comfortable working in a number
of different 5cale5 and form5,from highly articulated three-dimen5ionai form5 to work5 which are to be
5een again5t a wall. ThiS arCiStic confidence allow5 him to 5culpt work5 which 5erve in5titutional or
architectural need5,a5 well a5 work5 that 5it well in home5 or private collection5. USing new and
5ophi5ticated material5, Bigger often comment5 upon art hi5tory through work5 which 5hare a heritage
with an updated `Art Deco'or modern art 5en5ibility that it i5 not a mere echo, but a 5haring of 5pirit with
that era. Yet, Bigger never 1o5e5 hi5 own identity in hi5torical allu5ion; if anything, he wittily pun5 upon the
pa5t, bringing it into the pre5ent.
Michael Bigger'S intere5te range from the inteliectual development of ab5tract geometrical form5 to
the ab5traction of pattern5 inherent in nature. Equal to hi5 intere5t in the development of 5culptural form,
Bigger inve5tigate5 the 5culptural potential of new and traditional technologie5 and material5. He i5 a
mature arti5t, confident in any of hi5 mean5 of expre55ion,a5 he continue5 to add to hi5 arti5tic ba5e, not
a5 a re5pon5e to changing fa5hion5 5o prevalent today in contemporary art, but a5 a mean5 to further
inve5tigate the potential of 5culptural form.
Daniel Mato, f'hD.
I'rofe55or of Art HiStory
Univer5ity of Calgary, Alberta, Canada May, 2004
ArtiSt'S Statement in 1Zeference to Art In Public Places
The goal of the artist that site5 hi5 or her work in a
place acce55ible to the public should be threefold:
1) to provide an artwork that is imaginative and original,
2) to provide artwork that is sympathetic to the
rec�uireme and influence5 of the site
(be i nvironmental, architectural or 5ociological),
and o provide an at•twork that ha5 both integrity
and wo art�i5tic expre55ion that will be true
to the a` i�; while stimulating the imagination
and intellect ��+�wer.
Arti5t5 5 �C in 1Zeference to Studio WorkS
,�
My work is generally non-narrative. lt i5 concerned with
formali5��� .t�a5 form, 5pace, proportion and
material5. Other on5ideration5 are implied motion,
balance, in ion and penetration of elements,
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and final fin ork in all 5cale5, but large 5cale i5
my favori�,e exp��5ion. I have worked with stone,
�
wood, cast�n�tal,�.s#�el, and aluminum. I prefer steel
and aluminur��ue to the additive a5pect of welding,
which has i 400�5 in my architectural training. I am
a builder, not` ry teller. The phy5icality of the
sculpture �5 af p�mary importance; the narration
i5 les5 im�or�ant. I prefer to provide the viewer with
an impre�5ion rather than actual information. I think
that 5c r �` re;� ould command the viewer'S attention
a nd s,�m ti�
M. D. Bigger
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6'-6" x 22" sc�.
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Michael D. Bigger
Mlchael BlgBer Is an artist with an Intematlonpl A Snorebiook Fbrtoge,polyurathonacoatetl
M.D. Bigger,Sculptor reputotion and an exploratory wcabulary.His weldetl steel,ihe lJniversity of Maine ot Augusta,
2226 27fh Avenue South works are included in major collections in fhe 20'L x b'W x 8'H
Minneapolis, MN 55406 U.S.,Mexico and Conada.A prolific sculptor for
TEL/FAX 612-722-7628 more ihan 38 years,Bigger hos masteretl the e Ozona,colleciion of ihe artisi,Minneapolis.MN,
Web', www.micha2lbi ge faced by all sculp}ors�.ovoiding the coated weltled steel,6'W x 6'L x 10'H
ggeGCom challen
ciecorotive or precious obfect whlle explodng the C Texas latems.NI collactlon of ihe artlst
Michael Blgger"s sculptura supports antl realm of ex resslve osslblll
P P N. Mlnnaopolls,MN,oxltlized weldetl sieel wtth
enhances archltecfurol ond landscape deslgn, sealec 64a'H
His educatlonal background In both orchi}ecture Slldes and ptices upon request.
antl fine aris ensures a sensltivily for ihe success- Also see ihls GUILD sourcebook D Consianda,a commemorativa sculpiure for ihe
ful Iniegrotlon of art and archliecture. qichitecYs: 73 people of Monterreg Mexico,polyurathana
coatetl weldad sieel,40'L x B'W x 16'H
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Michael D. Bigger
Michael Bigger's sculpture supports and A Bddge#2,polyurethana-coated welded steel,
M.D.Bigge�,$culpb� enhances archltectural and lantlscape design. Oakwell Farms,5an Mfonlo,20'Lx 8'W x 1a'H
2226 Dfh Avenue Soufh Hls educatlonal background in boih archltao
Minneapolis, MN 55406 fure and fine arts ansures a sensitivity for ihe B W/ndwo�d Landscape.polyureihone-coated
TEL FAX 612-722-7628 steel,private collectlon,Wesiport Potnt.MA,
/ successful Integratlon o(ad and archltecture.
E-Mail: DNSMR�eaol.com Bigger ts an artlst wlth an Internailonol reputa- �0'H x 10'L
h��p://WW W.miChaelbiggef.com 11on and an exploratory voCabulary.Hls works C P�aiiie Cloud,hanging sculpture for Fetleral
are included In ma]or collactions In}he U,S„ Indusides,wnnipeg,Manitobo,pollshetl and
Mexlco and Canada,A prollfic sculptor for coatetl aluminum,plexlgloss.D'H
more ihan 37 yeors, Blgger has mastered the
chollenge faced by all sculptors:ovolding ihe D Constancia,a commamorotive sculptu�e
decorative or precious ob7ecl whlla exploring
for fha peopie of MonYerrey.Mexlco,
polywathane-coated weltled sieel,
the realm of expresslve possibllllY� 4PLxe'W x 16'H
Slldas and ptices upon request,
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