Barney Bright a Fifty Year Celebration

Barney Bright A Fifty Year Celebration

“I would…like to see how much life I can put into my sculptures. I want to see how much of the life I put into a work will come back out to the observer.” -Barney Bright

Danny O’Bryan. “Barney Bright; A True Artist.” The Entertainer, The Louisville Times, June 20, 1983. p.19. John L. Goff, Associated Press Exhibition Donors

The “Barney Bright: A Fifty Year Celebration” exhibition and catalogue have been made possible through the support of the following generous individuals:

Anonymous Bob & Jean Logan Dr. & Mrs. S.P. Auerbach Mrs. Frank Logan Walter E Badenhauser, Jr. MD Mr. Patrick A. McMakin Mr. Bruce Bass Mr. Edwin G. Middleton, Jr. “To become an artist you John H. & Doris Owen Bickel Mr & Mrs. John S. Moreman have to be willing to do Mr. & Mrs. Barry Bingham, Jr. Mr. James D. Moore without a lot of material Mrs. P.C. Blakemore Mr. & Mrs. T. Ballard Morton things. At first you have to Mr. & Mrs. Neville Blakemore Louis J. & Margaret Moseson build a following and it Laura Lee Brown & Steve Wilson Mr. & Mrs. James Patterson usually takes many years Mr. & Mrs. Owsley Brown II Mr. Lawrence L. Pedley before your work becomes Mr. & Mrs. John L. Chenault Clay M. Pickard, MD PC & Cynthia J. Rice, MD known well enough that Dr. C.E. & Suzanne Claugus Charles & Charlotte Price people will start coming to Philip Cochran, DVM Trudy & Martin L. Ray, Jr. you. You have to make these Lionel & Mary Ann Currier Ms. Marianne Rash Rowe sacrifices if you expect to Mike & Becky DeCamp Mary & Mason Rudd ever achieve the higher goal Mrs. Maxine Collins Ms. Eleanor Sachs of of expressing yourself.” Mr. & Mrs. A. Robert Doll J. Baxter Schilling Margaret & Ted Duerr Ms. Betsy H. Schmidt Danny O’Bryan. “Barney Bright; A True Artist.” Mr. & Mrs. George F. Duthie Cal T. & Yvonne J. Schmidt The Entertainer, The Louisville Times, Mrs. Rowe Giesen Ms. Mary N. Shands June 20, 1983. p.19. Colophon Mr. & Mrs. J. David Grissom Jack & Lucy B. Shapero Mr. Ed Hamilton Ms. Carole S. Smith Ms. Marie B. Hertzman Mr. Harvey W. Sollinger Barney Bright: A Fifty Year Celebration exhibition and The Hertzman Foundation Louise F. & Edmund A. Steinbock catalogue has been produced by the Louisville Visual Art Martha Keeney & John Heyburn II Dace B. Stubbs Association, Albertus Gorman, Curator, with the ongoing Mrs. Robert C. Hobson Mr. & Mrs. William B. Swearingen support of the Fund for the Arts, of which it is a member Doris & Bill Hundley Swearingen Gallery agency. A grant from the Kentucky Arts Council, a state Janie Moss Originals Ms. Ellen S. Tate agency of the Education, Arts and Humanities Cabinet, Rev. Helen Jones The Sachs Company provides additional ongoing operating support. May Wetherby Jones The Charles Weisberg Family Foundation Mr. & Mrs. David A. Jones Dr. Joan & Lee B. Thomas Catalogue design: Teresa Heintzman, Lark Studio, Inc. Mr. John E. Keith/Muldoon Memorials Jerry & Dick Tygrett Kentucky Arts Exhibition Photography: William Sheets Photography Mrs. H. Kinsolving Dr. Lewis E. Whipple Council Printing by Merrick Printing Sandor & Ann Klein Mr. Joseph White Ms. Janis Klempner W. Roberts & Patricia Wood Published November, 1997 in Louisville, Kentucky. Mr. & Mrs. Howard Linker Copyright, Louisville Visual Art Association, 1997. Ann & William Logan

i Marion Klein Koehler Barney Bright Fifty Year Celebration Memorial Sculpture Endowment Table of Contents Donors

David & Bonnie Adkisson Ms. Anne L. Pope Gregory & Mary Pat Baird Roosevelt Perry Elementary Forward ...... iv Bank One Robert & Catherine Russell John Begley Ms. Martha B. Baxter Ellie & D.A. Sachs Acknowledgements...... v Ms. Martha B. Bernhard James T. Sanderfur & Helen Merantz, Jim & Scott Albertus Gorman Mr. Carl M. Brown Marianna W. & Thomas Sanders Introduction...... vi Alan & Sandi Bryant Mr. David H.J. Schwartz Albertus Gorman Ms. Mary Lou Carpenter Sue & Sam Scott Jack & Mary Ella Conner James W. & Pamela Bow Shepherd, III Ms. Sue Cristal Ms. Celia Smith & Joan Pritchard Chapter One...... 1 On his goals: Mr. Michael Dicken, CPA Mr. John Evarts Speed The Early Years “I want to express in some Susan & Peter Eiche Mr. Franklin L. Stork, Jr. Chapter Two ...... 5 way, and probably in Sally & Dale Erny Mr. William M. Tate 2031 Frankfort Avenue sculpture, some of the Ms. Bonnie Fritschner Mrs. William L Tierney Chapter Three ...... 9 things I feel strongly Ms. Betty Goodman Delmar & Jane Tucker Building a Career in the Arts about.…I can’t put them in Mrs. C.R. Goodwin Ms. Ruth E. Turnbull Chapter Four...... 13 words. Otherwise, I’d write Ms. Ann W. Habich Voelker Winn Architects Art in Public Places about them.” Mr. Wallace G. Harrington Ms. Joy L. Voss Chapter Five...... 19 Jacque Parsley Henrion John & Mary Rush Walker The Clock Virginia Delavan. “Barney Bright: Don & Helen Hess John L. & Patricia H. Walters Chapter Six...... 23 His Sculptures Sub for Words.” The Louisville Times, Joanne W. Heumann John P. & Karen Krause Watz Cave Hill & The Statesmen September 14, 1968. Ms. Terry Ann Hill Chris & Kelly Williams Chapter Seven...... 27 “It’s easier now (to make a Mr. Robert B. Horner Constance Clark Willis The Search living in art) than in ‘48 when Lisa W. & Ron L. Hout Michael & Lillian Winn Chapter Eight ...... 29 I got started,” Bright says. James & Carolyn Hutto Mr. & Mrs. V.L. Winn Personal Vision & Last Works “But every artist I’ve ever met Mrs. Lucien Kinsolving Miriam Woolfolk has had to supplement his Ann & Sandor Klein Ms. Sarah Roberson Yates income some way. They Ms. Beth Knopf Selected Bibliography...... 34 marry money, they teach, Carver Kramer & Paul V. Marlowe Additional Photo Credits ...... 35 they get money from some Ms. Nancy Lampton The Water Tower ...... 36 source besides their art.” Mr. & Mrs. Rolf Larson Virginia Delavan. Patrick L. & Tina M. Lentz “Barney Bright: His Sculptures Sub for Words.” Philip & Belle Levy Gifts beyond the production costs for the exhibition and cata- The Louisville Times, September 14, 1968. Robert D. & Jean Logan logue are being placed in the Barney Bright Memorial Ms. Margaret Logan Sculpture Endowment for support of public sculpture and Louisville Plate Glass sculptors in Louisville. Ms. Patricia Moremen Dr. & Mrs. William Nash Ms. Carolyn J. Neustadt Ann B. Osterholt Ms. Mary Jane Peabody

ii iii John Begley, Executive Director Albertus Gorman, Curator Foreword Acknowledgements & Notes

arney Bright is an icon, a role model, a mentor, and in their helpfulness in getting this show produced. orking on this celebration of Barney Bright’s career has My goal in preparing this catalogue is to provide a narrative the artist synonymous with Louisville, so, it is an important Particularly, Charlotte Price, Lucy Shapero and Lew Whipple been a real privilege for me. Such a large task could not have that gives the reader a sense of the scope of Barney Bright’s responsibilityB to produce this exhibition celebrating fifty years have spearheaded gathering the resources to make this tribute beenW accomplished without the help of many contributors. I career. Barney’s own words have been used whenever possible of his career. The Louisville Visual Art Association is pleased possible. Hundreds of patrons, peers and supporters have given would first like to thank Gayle Bright and Barney’s family for to tell his story. My approach is essentially chronological. to have been entrusted by his family, friends and patrons to financial, intellectual and physical support to the show; loan- their patience and support. Their invaluable assistance during Barney Bright created over 1,000 works of art. Many of them undertake this daunting task of trying to summarize a creative ing work, relaying wonderful stories, and helping establish an a very difficult time is greatly appreciated. The exhibition and remain poorly documented. Most of the photographs in this mind and a monumental production that means so much to archive to document the over fifteen hundred original sculp- catalogue would not have been possible without the efforts of publication were from the artist’s personal collection. Where all of us in so many ways. tures produced by this modern master. The catalogue produc- Charlotte Price, Lew Whipple, and Lucy Shapero. From fund- possible, the photographers have been given credit. All other tion team of Teresa Heintzman and Bill Sheets deserve special raising, to locating artwork, to proofreading, this trio did it all. unattributed photographs are from the “Estate of Barney It is with great enthusiasm that we have done so, because we thanks. The Bright Foundry crew also has been crucial to the I would like to thank my research assistant Kelly Hamilton for Bright.” believe this is a story that must be documented. The process of installation of the exhibition. Finally the Louisville Visual organizing the many articles written on Barney Bright. Thanks fully understanding and appreciating this artist’s life work is Art Association staff, and particularly curator, Albertus also to John Begley, executive director of the Louisville Visual So much remains to be discovered about this significant artist. just beginning, and this exhibition is an important step in dis- Gorman, and assistant, Kelly Hamilton, have cared deeply and Art Association, and our talented staff for allowing me to It is my hope that “Barney Bright: A Fifty Year Celebration” cerning just how widespread and significant his accomplish- gone the extra mile to see that this tribute was done thought- focus on this important project. For support and advice will be a useful first step towards serious scholarship. ment is to Louisville’s legacy of public art and sculpture. fully and well. Thank you, everyone, for giving the effort to thanks also to the J. B. Speed Art Museum, The Kentucky Honoring his achievement helps all who knew and loved honor an extremely talented and deserving artist who has Derby Museum, the University of Louisville: Margaret M. Barney deal with the loss of his presence with us. We deeply enriched Louisville and continues to add meaning and joy to Bridwell Art Library, The City of Louisville and the Shelby regret that he did not live to see completion of this celebra- our daily lives, Barney Bright, sculptor. County Library in Shelbyville, Kentucky. To Yvonne Rapp tion of fifty years as a sculptor, but we know the eager out- Gallery thank you for hosting a concurrent exhibition of the Albertus Gorman pouring of support for this project touched him. artist’s work. Your long association with Barney Bright adds Curator, Louisville Visual Art Association scope to our retrospective and truly makes this a celebration. I want to thank and acknowledge the Association’s indebted- A special thanks to Patti Linn who knows better than any- ness to all those have worked very hard to bring this show John P. Begley one what it took to accomplish this project. Finally, thank into being. We very much appreciate and are moved by the Executive Director you to the many owners of Bright works for sharing their partnership of community that has made this possible. First, Louisville Visual Art Association treasures with us. Barney’s wife, Gayle, and his entire family have been tremen- dously supportive in a time of great stress and loss for them. Barney’s lifetime friends and colleagues have been unstinting

iv v Introduction

ramed by a neatly trimmed gray beard, Barney Bright’s that would have meant a great deal to any artist was a retro- face was full of character. He had a strong Roman nose spective of his life’s work. This seems a curious oversight when ber of religious works commissioned by instantlyF recognizable in the many sculptures he produced the museum world now frequently grants this distinction to churches of different faiths. There is also a using his image as a model. His grayish green eyes smiled easi- less mature artists. An explanation may lie in the way the role strong commemorative element to his ly. Physically, he was not a large man; wiry would be an apt of art has changed in our contemporary world. oeuvre. This can be seen in his many private description. He possessed extraordinary hands: they could be and civic portraits, in his public art pieces, and both sensitive and strong. His manner was easy-going. In con- Art in the twentieth century has in his memorials for Louisville’s Cave Hill versation he tended to be good humored and patient, but also been a roller coaster of stylis- Cemetery. Bright’s sculpture could decoratively “I used to have a desire to to the point. Barney was a generous friend, a good companion tic innovations and chal- enhance both architectural spaces and domestic interiors. leave,” he says “but I don’t and father. He was also a superb artist. In all that he was and lenging concepts. This Because most of Bright’s work reflects these time-honored any more. First of all, I did the man had presence. You would remember meeting him. period also witnessed uses for sculpture, few of his works are in museum collec- became convinced that the the rise and growth of tions. Most are in private collections. ‘Big Time’ doesn’t exist in A native of our commonwealth, Barney Bright spent his museums. Wealthy col- New York or anyplace else, entire career in Louisville, Kentucky. After much struggle he lectors assembled their As the art critic Robert Hughes has observed, this is not at least for me. If I was an was able to persevere and earn a living through his art. This is collections of the avant- the best of times for contemporary art. People are tir- actor, I’d probably want to “Kentucky is a rich, nurtur- remarkable considering he lived in a state that traditionally garde with one eye upon ing of an art that makes them feel alienated. A be in New York or some such ing, quiet place from which to did not support its home-grown artists. The temptations to museum culture and the movement is growing to reconnect art to life in place ‘cause that’s where the draw energy for my work.” leave were strong. He would not have been the only native status and support it could ways that enhance community. Barney Bright action is. But I feel like with talent to leave in search of a more supportive artistic environ- confer. Increasingly, new and many of his contemporaries will be due for Owensboro Museum of Fine Art.: what I want to do in sculp- Exhibition Catalogue. ment. Fortunately, Bright loved Kentucky and found reasons art born from Modernism critical reappraisal. If Bright seemed uncon- “The Kentuckians,” 1987. ture, it doesn’t matter so for staying. depended upon the museum cerned about the larger art world, it was p. 40-1. much where I am.” to interpret its significance. This was because he knew his preferred material John Christensen. The quality of Barney Bright’s art is high. That alone should new in the history of art. Our local and could endure. Bronze can be patient. “Barney Bright, A portrait of the artist carving out a name for himself,” guarantee him a place among our treasured artists. His true regional museums followed the trends and looked far afield The Louisville Times Scene, June 30, 1973, p.3. importance, however, radiates from him. How can you place a when considering contemporary art. This tendency to over- value on the civic pride instilled by his many public monu- look what is important and local is very human and not ments? No other artist in Louisville’s history is so well-repre- restricted to our part of the country. sented by art in public places. How do you measure the effect he had on the community of artists he generously mentored To enjoy Barney Bright’s art does not require lengthy institu- who are now creating their own successful careers? Through tional explanations. His work communicates directly to every- his example, Barney Bright helped to show them the way. The one. The majority of his sculptures were figurative. Although foundry Bright started in his studio is now an independently- he produced a few abstract works and even admired and run business which has made Louisville an important regional learned from modern masters, he chose to be true to himself. location for bronze art fabrication. Bright saw a need for a He had an excellent working knowledge of anatomy. In his local foundry and made it happen. Along with his sculpture, hands, and according to his intentions, the human form could these immeasurable factors make Barney Bright Kentucky’s be rendered in a range of styles from expressionistic to realis- premier twentieth century artist. tic. Through the figure he could communicate innocence, grace, humor, pathos, sensuality, and the sacred. In 1989, during Governor Wallace Wilkinson’s administra- tion, Bright was given the Arts Award for Lifetime Aside from his use of the figure, Bright’s art is grounded in the Achievement. The one honor, however, he did not receive roles traditionally played by sculpture. He completed a num-

vi vii Chapter One The Early Years

eptha Barnard Bright, Jr., was born on July 8, 1927, in Shelbyville,J Kentucky. During this year Calvin Coolidge was serving his second term as President and Charles Lindburgh flew across the Atlantic Ocean in the Spirit of St. Louis. Barney, as he preferred to be called, was one of two children “I would make armies, born to Deanie and Jeptha Barnard Bright, Sr. He was the airplanes, guns and little fourth generation of Shelby figures that I would torture,” County men to carry the family he related, “in those days, name. Buck Rogers was big at the Saturday serials and I was Barney Bright was one of those very impressed with the rare individuals who could be whole subject matter of described as a natural born space and being captured artist. Some often-repeated and tortured by aliens. childhood anecdotes support Everything I made had to do this observation. When he was with my fantasies. . . . I think just three years old, Barney “I always feel as though I’m it was in third grade, the would ask his mother for biscuit starting from scratch with Jeptha Barnard Bright, Jr., class made a model of a toddler dough so that he could play each piece. All my life I have whole town, and I really with it. At five years of age, he made pots from locally dug tried not to do ‘formula stood out,” he recollects, clay. Then, at the age of seven, Barney contracted a hip ail- pieces,’ so with each piece “I couldn’t read, or spell, or ment which forced him to wear a body cast for two years.1 To I have to rev myself up add, or subtract, but I could amuse himself while conva- and start at it as if I’m a really make things.” lescing, he created clay beginner.” “Kentucky’s Sculptor Laureate From Louisville,” armies and characters from The Kentucky Enquirer Digest, Gioia Patton, popular movie serials. Fantasy March 27, 1977, p 2. “A Life In The Arts— Barney, Daytona Beach, 1946 Barney Bright—Sculptor,” would remain an important Senior Life & Times, July 1995, p. 7A. element in Barney’s art throughout his life.

Even though art has not always been regularly taught in Kentucky schools—and Allen Studio, Louisville, KY Barney, Shelbyville High School this was especially true during the Depression—Barney found opportunities to display his talent. Whenever a class project required an artist, Barney would fill this role. He seems to have always been comfortable with materials in his hands. Although he showed aptitude for math, he was not an overachiever in his other course work. This tendency would continue during the rest of his formal education. Shelby County Shelbyville, Library, KY viii Magnolia Avenue, Shelbyville, KY 1 had won important inter- Kraus taught many students who became important sculptors After completing his course work, Barney retained his ties to Barney attended Shelbyville national awards. He in Louisville’s growing art community. Barney Bright, John the Art Center Association by teaching sculpture and drawing High School during World worked primarily in terra Maluda, and Donald Lanham are the best remembered today. at the school. In 1951, he created a bird feeder as a Christmas War II. As a result of the cotta and stone. His art In addition to teaching the craft of sculpture, Kraus provided item for the Center’s gift shop. The piece, entitled “St. On Going to Davidson conflict, he was allowed to was figurative, classical and the young artists with an example of a successful sculptor. Francis” is a bronze bas relief of the saint surrounded by styl- College in North Carolina to graduate a semester early. He executed in a simplified Later in his career, Barney would remember this by mentoring ized swallows. The bird feeder’s oak woodwork was fashioned Study Art: moved to North Carolina modernist style. Kraus was the young artists who entered his studio. by Cal Schmidt, an old Shelbyville friend.6 This was probably with a friend from home to teaching at Cincinnati’s Barney’s first bronze and certainly the first item he created for “That was one of the attend Davidson College. Art Academy when he In 1948, Barney received his first artistic recognition by win- a mass market. biggest mistakes of my life,” However, the academic came to the attention of ning the top sculpture prize at the Art Center Annual. The he exclaimed, “it was a heavy requirements were too Louisville’s Art Center winning entry is entitled “Clytie” and is a small marble figure With one daughter already born and another child on the academic place, completely “My teacher, Kraus, restrictive and Barney with- Director Fayette Barnum very much in the style of Romuald Kraus. The extra time way, the pressures to support his family increased. To help isolated, with no girls, no fun, obviously influenced me drew from college after one and art patron Mrs. Jane spent in the studio classes was beginning to pay off. Barney make ends meet Barney accepted commercial design work. For no beer, and no life as far as “Clytie”. 1948. Marble, 18” tall. The Logan Collection, Louisville, KY. very strongly for many years, semester.2 Morton Norton.4 Together followed his first success by winning the sculpture prize at the a few years he worked at the Bruce Fox Foundry in New I was concerned.” and he was influenced by they felt Louisville needed an artist of Kraus’s stature to stimu- 1949 Art Center Annual with a terra cotta figure. That same Albany, Indiana, designing everyday metal craft items like (Wilhelm) Lembruck, so “Kentucky’s Sculptor Laureate From Louisville,” Rather than wait to be drafted into the infantry, Barney joined late sculpture in the city. Kraus accepted their proposal to year, Barney won his first commission—over a cutting boards, ashtrays, and trophies. Barney credit- The Kentucky Enquirer Digest, that means I was too. Then, March 27, 1977, p 2. the Navy. During his basic training, World War II ended. teach in Louisville. After a period of commuting between the design submitted by Kraus. The commission ed a stint at Moran Flexible Joint Company for several years, I was influ- While stationed at Daytona Beach, Florida, Barney did serve two cities, Kraus settled permanently in Louisville in 1947.5 was for the lobby of Louisville with teaching him the basics of metal enced by Henry Moore, and aboard a mine sweeper. Upon his discharge from the military, Children’s Hospital. The com- casting.7 In 1952, Barney accepted then (Jacques) Lipschitz. he married Sally Cook and the young couple moved to pleted piece is a small but a full-time position as an “Kraus taught me the basics Usually the influence would Louisville, Kentucky.3 masterful terra cotta industrial modeler of carving and modeling from be their style—a general depicting children and designer life,” Bright stated, “and a thing—or certain forms in American colleges and universities grew rapidly following the playing for more gentle approach to art particular. Rodin, I guess, second World War and many university art departments were leapfrog. than was my normal was one of my biggest loves.” created during this time. Taking advantage of the G.I. Bill, unthought-out, unguided Barney first applied to Sarasota’s Ringling Brother’s Art John Christensen. direction.” “Barney Bright, A portrait of the artist From the Collection of the Margaret M. Bridwell Art Library, carving out a name for himself,” University of Louisville School, but was “Kentucky’s Sculptor Laureate denied because of an The Louisville Times Scene, From Louisville,” June 30, 1973, p. 4. The Kentucky Enquirer Digest, extensive waiting list. March 27, 1977, p 3. He did, however, find acceptance at the University of Louisville. Once again, his desire to study art exclusively caused him Romuald Kraus with a student in the late 40’s. to withdraw from school. At last Barney became a student at Louisville’s Art Center Association where all subjects were art-related. It was here that he met his artistic mentor in Romuald Kraus. From the Collection of the Margaret M. Bridwell Art Library, University of Louisville

Romuald Kraus and an example “Leap Frog”. 1949. Terra cotta. Children’s Hospital, Louisville, KY. “St. Francis Feeding the Birds”. 1951. Bronze and wood, 14” tall. of his work. Originally from Austria, Kraus was a celebrated sculptor who

2 3 Chapter Two 2031 Frankfort Avenue

Louisville’s General Electric Appliance Park. The regular n his later years, Barney considered his layoff from income must have been a great relief for Barney. Exactly one G.E.I to be a stroke of good luck. Had he continued his career year later, however, he was laid off. His career as a professional as a full-time industrial designer, the time to develop his own artist was about to begin. art would have evaporated. In 1953, Barney purchased his studio at 2031 Frankfort Avenue with $200 in savings plus another $200 that he had borrowed. The day Barney began to work in his studio his third child Jeptha Barnard Bright, III, was born.8 This important day also marked the beginning of his career as a professional artist. Barney would occupy this “My father told me forty space until his death in 1997.9 years ago, ‘If you learn to sculpt horses well you’ll From street level, Barney’s studio appeared nondescript. Once never go hungry,’” Barney “I started with a plan,” Bright inside the door, visitors were treated to a deceptively large remembers, “I didn’t like to says. “I would gradually find array of ramshackle rooms filled with art in all stages of com- do horses, still don’t. ways to sell more and more pletion, tools, dust, trash, occasional dogs and cats, and, of Horses are beautiful sculpture and quit doing the course, Barney Bright. animals, but people want commercial things I had to an exact likeness, leaving do to make a living. It took Dating back to the Civil War, 2031 Frankfort Avenue vari- me with no artistic freedom.” longer than I thought, but ously served as a doctor’s office, saloon, and drug store. Only it worked.” Gioia Patton. the back portion was two stories tall. It contained a large, “A Life In The Arts— John Christensen. Barney Bright—Sculptor,” essentially open-air work space which opened out to a lightly “Barney Bright, A portrait of the artist Senior Life & Times, carving out a name for himself,” July 1995, p. 7A. wooded back lot. (This area would eventually house the The Louisville Times Scene, foundry.) Barney stored his June 30, 1973, plaster molds in two dark pp.3-4. subterranean rooms that

Barney working at General Electric in the early fifties on scale model. could only be accessed by a steep ramp. A small apartment was also connected to the studio and was briefly home to the artist. 1 Gioia Patton, “A Life in the Arts—Barney Bright—Sculptor,” Senior Life and Times, July 1995, p. 7A.

2 “Kentucky’s Sculptor Laureate from Louisville,” The Kentucky Enquirer Digest, March 27, 1977, p. 2.

3 Ibid, p. 1.

4 Senta Bier. “Miss Barnum Made Community Conscious of Art Education,” The “Head of Jep”. 1956. Bronze, Courier- Journal, March 13, 1960. approximately 5” tall.

5 Barney’s mentor Kraus would later join the faculty of the University of Louisville’s first art department established through a bequest of Allen R. Hite. Romuald Kraus passed Barney looking out the back door away in 1954. of his studio in the early 50’s.

6 Letter from Cal Schmidt to Charlotte Price, July 15, 1997, (Bright Archives). 2031 Frankfort Avenue, front entrance under renovation.

7 Helen S. Leopold, “Barney Bright,” Louisville Magazine, June 20, 1968. 4 5 favorite artist of Barney’s mentor

Although the preceding description “Whale”. Early 50’s. Lead fountain. Kraus. Because Louisville may make Barney’s studio sound dismal During this time, Barney created a lacked an art foundry, the and uninviting, for art lovers it was notable fountain for the Thomas work was cast in New York. magical. When Barney wasn’t working, Bullitt family. It featured three It was Barney’s first large lost On a friend named Rosie: he might hold court from behind his elongated female figures in a circu- wax sculpture. Sadly, today the cluttered desk near the front door of his lar pool. Jets of water ingeniously reflecting pool is filled with dirt, “Her father is blind. They live studio. A second desk, an old roll top, caused the nymphs to pivot and marring the original design. right around here. He came stood behind him filled with souvenirs move. Other garden sculptures in and I led him to the clay of his life. from this period include a group of With the decade drawing to a close, model. He asked if it would “Whale”, top view. Early 50’s. Lead fountain. musicians playing instruments and Barney continued to diversify his be all right to touch it Barney had a generous open door policy. In his eulogy for a humorous fountain in the shape of a whale. activities. Commercial work and because he knew it was soft On his first “Big Time” Barney, David Kocka rightly described the studio and its teaching assignments at the clay. I said I was sure he Commission on Brownsboro front door as a metaphor for the man. The artist never knew Terra cotta, plaster, lead, and, less frequently, bronze were the wouldn’t damage it. He Road: who might stop by. Lew Whipple materials used in Barney’s early touched the hair, the eyes, recounts a story Barney told him art. Works intended for the out- the lips, the nose, and then “I got paid somewhere that is a good illustration of this. doors were usually made of lead. he turned to me and said, around $2000 to $2500 for The Kentucky School for the Lead sheet could be hammered to ‘You’re making it prettier “Pool Figures”. Late 50’s. Bronze. Formerly in the Bullitt the piece,” remembers Blind is a short walk from the produce a sculptural form. With Collection, now in the Dupree Collection. Lake Forest, IL. than she is.’” Bright, “but I had to pay the studio. One day a blind person its modest cost, low melting foundry $950 plus shipping F.W. Woolsey and Jebb Harris. “Barney mistakenly entered Barney’s stu- point, and malleability, lead was a Bright: Shelby County’s gift to Louisville and I had to take a trip to sculpture,” The Courier-Journal Magazine, dio thinking it was the neighbor- durable substitute for bronze. New York. I had it cast in New November 2, 1980, p.9 ff. ing drugstore. Barney invited him York because it was the only in, befriended him, and intro- In 1958, Barney received his first place I could find, at that duced him to his art. Several of important commission. Local time, who could do lost wax Barney’s friendships—and some landscape architect Campbell casting…I made less than of his commissions—resulted Miller recommended Barney for $1000 gross intake after after people accidentally discov- the job. Barney was charged with “Landscape”. 1958. Bronze. Commissioned by the Citizens Fidelity Bank. expenses for several months ered his studio. creating a sculpture that would University of Louisville and the Art Center Association of work….” harmonize with the design of a helped to pay the bills. Barney also became interested in Even after he was established in new Citizens Fidelity Bank portraiture during this time. Initially, his subjects were “Kentucky’s Sculptor Laureate From Louisville,” The Kentucky Enquirer Digest, his studio, Barney would continue branch on Brownsboro Road. members of his own family. In 1959, he completed what March 27, 1977, p 3. to do free lance commercial work The bronze figure Barney pro- is believed to be his first self-portrait entitled “Man With for local industries. He also con- duced is entitled “Landscape” and a Hat.” Larger than life-size, this painted plaster no “Musicians”, garden sculpture. Lead, 18” tall. Formerly the tinued to win prizes for his art at Bickel Collection. it is one of his most beautiful longer exists. the Art Center Association annual exhibitions and at the sculptures. The graceful seated nude, slightly less than life size, Kentucky State Fair. gazes into a reflecting pool with head bowed and hands “Earth Mother” is the title of a unique piece also complet- together. Georgia Ellinger, a Bright family friend and former ed in 1959. This large plaster seated woman is fully round. In the mid 1950’s, Louisville experienced a revival of interest bank employee, recalls that this work is a composite based on Her arms and legs radiate from her globe-like body. The in gardening. Local artists quickly saw a market for fountains four different models used by Barney.10 The work echoes the figure’s sex is exposed. Despite her massiveness, Barney and decorative sculptures to enhance these green spaces. classical realism of sculptor Wilhelm Lembruck who was a was able to evoke a sense of floating in space. Her spiraled “Landscape”. 1958. Clay model. 6 7 Chapter Three Building a Career in the Arts

tresses were inspired by the patterns found in locally common uilding a reputation as a serious artist is a long, difficult fossilized snail shells. The interplay of shapes and forms make process.B Despite the acclaim Barney received for his Citizens “Earth Mother” a visually satisfying sculpture. This work is a Fidelity “Landscape” figure, the industrial and commercial departure from the thin, elongated forms Barney had been projects continued to sustain him financially. He created scale using for his garden pieces. Barney exhibited “Earth Mother” models of kitchen ranges, water towers, and brewing tanks. in a show organized by the Cincinnati Art Museum entitled For a short time, he designed prosthetic ears and noses for “Contemporary Sculpture 1961.”11 (Barney later made a small- people who suffered trauma from accidental injury and illness. er bronze version of “Earth Mother” called “Gaea.”) Barney working on a model of a NASA capsule, 1966. In 1964 and 1966, Barney completed one-third scale models of the Mercury and Gemini space capsules for NASA.12 Louisville’s Fisher-Klosterman Inc. had received the contract for these teaching aids. In a classic Barney Bright touch, one of the astronauts bears the artist’s likeness. Mike Heumann, Jr., a good friend of Barney’s and President of Fisher- Klosterman has his portrait on the second astronaut.

Untitled, (Welded bronze and copper), 1961, Madison High School, Madison, Indiana. Destroyed by vandalism. Lin Caufield Photographers, Inc.

“I could make a better living doing this commercial stuff,” he says, “than doing the “Man with a Hat”, Early Self-portrait. 1959 things I want to do.” Painted plaster, destroyed. John Christensen. Bright working on “Man with a Hat”’ in the studio, “Barney Bright, A portrait of the artist 1959. carving out a name for himself,” The Louisville Times Scene, June 30, 1973, pp.3-4. Charlotte Price

8 Kentucky Tim, “Portrait of a Sculptor: Barney Bright,” Highlands Messenger, Vol. 1, Issue 3, Spring 1988, p. 11.

9 John Christensen, “Barney Bright: A Portrait of the Artist Carving Out a Name for Himself,” The Louisville Times, Scene, June 30, 1973, p. 3.

10 Georgia Ellinger, Unpublished letter sent to The Courier-Journal, Copy to Albertus Gorman, August 1, 1997 (Bright Archives).

“Earth Mother” Two views of this volumetric sculpture. 1959. Painted 11 Contemporary Sculpture 1961, Exhibition Catalogue, Cincinnati plaster, 40” high. Art Museum and Herron Art Institute, 1961. 8 on five separate occasions! Paul Fields was first a student of An occasional commission for a fountain or Barney Bright was the consummate commis- Barney’s at the Art Center Association. Barney did not have a garden sculpture would come into Barney’s sion artist. In order to satisfy a client, Barney good initial impression of him. It took weeks before Paul con- studio. One major fountain created for could set aside his strictly personal vision. It is vinced Barney to let him into 2031 Frankfort Avenue. Madison Consolidated High School in possible that the works which appear to be Eventually, Barney relented and Paul would work in the studio Indiana was an atypical Bright creation. This anomalies are attempts to incorporate his for seven years. Paul Fields would later create a name for him- work from 1961 was essentially abstract in clients’ ideas into the pieces. Ultimately, the self as a sculptor specializing in stone work. The most impor- design as opposed to the naturalism Barney is work did come from the artist’s heart and tant bit of advise Barney gave him was “...don’t do art because “...when I was working for best known for. The fountain was made of imagination and Barney seemed to enjoy these you can, but because you have to.”14 somebody else eight hours a bronze brazed over copper sheet and tubing. challenging departures. day, I didn’t have the energy The piece resembled a menacing plant. The year 1965 marked a low point in Barney’s life or the ambition to do my own Water jets arced from two flower-like forms The early to mid 1960s witnessed Barney’s and career. After nineteen years, Barney’s first mar- work. ... I figured that if flanking either side of the central fountain. continued development as a portraitist. riage ended in divorce. Despite having thousands of “Over a period of, say, “Leslie”, 1961. Terra cotta, life size. I made my living doing any- Unfortunately, this work was fragile and was Again, his children were favorite subjects. In dollars worth of inventory, Barney had few patrons. several years,” says Bright, Untitled, 1964. Bronze over thing I could, I would have my destroyed by the students. Few photographs 1961, Barney created a terra cotta bust of his He sold his studio and rented the space until he was “your work reflects where copper14”tall. University of own hours and could be my remain to document its short existence. Kentucky Agriculture Project, eldest daughter “Leslie” able to repurchase it many years later. He lived in a The bright spot that year was his you are at the time. If I’m up, Lexington, KY own boss. If I got inspired to that he kept in his stu- little apartment attached to his studio. inclusion in an exhibition at the my work usually reflects that. do a piece of sculpture, Artistic evolution usually does not progress in a smooth, linear dio for years. In 1962, “ Little Boy”, a Speed Museum entitled “The If I’m down, it reflects that, I didn’t have to answer to fashion. The reverse of this is more often the case and was portrait of his youngest son Michael, Figure in Sculpture, 1865- too. You might also be somebody, I could just do it. true of Barney Bright’s career. At different points Barney became part of Mrs. Jane Norton’s col- 1965.”15 Barney was the only interested in solving certain Or if somebody wanted a could produce work that was nothing like what we are accus- lection. “ Sara” from 1964, is a repre- local artist in the show. It must problems or be influenced by portrait of their kid or a tomed to seeing come from his hand. Sometimes he created sentation based on his second child have been a pleasure to exhibit certain other artists; garden piece, I could fit it art in a style that can be labeled “organic abstraction.” The and is loved by collectors as the work alongside that of some of consequently, your work into my turn-out of work. Madison fountain is one good embodi- his artistic heroes: August reflects that, too.” “Sara”, plaster cast example of this. ment of childhood innocence. Rodin, Henry Moore, and I’m kind of a workaholic! My John Christensen. Jacques Lipchitz. “Barney Bright, A portrait of the artist idea was that over the years, carving out a name for himself,” Other works executed in this style Barney used this piece in an if I could make it work, I The Louisville Times Scene, include a 1964 commission for the exhibition at Louisville’s Junior Billed as his first one-man show, June 30, 1973, pp.3-4. could gain a reputation and University of Kentucky’s College Art Gallery to illustrate the Barney exhibited at Louisville’s “Little Boy”, (Lead, life size), could exchange the commer- of Agriculture and a large work process of creating a bronze early 1960’s, formerly in the Merida Gallery in 1966. Collection of Jane Norton. cial-industrial work for more dating from 1970 for the sculpture. Nineteen pieces were on display.16 and more art work.” Jeffersonville Township Public Most were familiar works from Library in Indiana. The University The year 1963 is notable in the past along with a few exciting “Kentucky’s Sculptor Laureate From Louisville,” The Kentucky Enquirer Digest, of Kentucky work features three Barney’s career for two reasons. small sketches in bronze. Barney created few drawings. He pre- March 27, 1977, p 3. intertwining stylized tulip blos- First, he completed a commis- ferred instead to “doodle” by making three dimensional soms emerging from a block of sion for Louisville’s Presbyterian sketches out of clay. This was his working method from the limestone. The Jeffersonville Untitled. 1970. Bronze over copper. Jeffersonville Township Theological Seminary. time he was a child to the end of his career. One sketch in the Public Library, Jeffersonville, IN. piece is based on Barney’s interpreta- Secondly, Paul Fields became show would stand out. It was for a proposed memorial to tion of an early life form from an ancient sea. Both works Barney’s first studio assistant. The sculpture at the Seminary is George Rogers Clark, the legendary founder of Louisville. have no formal titles and were again constructed of bronze a crowing “Cock” and is a symbol of Peter’s denial of Christ.13

rods welded over copper supports. The piece proved to be so popular it was stolen and recovered “Cock”. 1963. Welded bronze. Louisville Presbyterian Theological Through a bequest from the late Arthur E. Hopkins, money Seminary. 10 11 Chapter Four Art in Public Places

rejected the competition charg- ouisville enjoys a national reputation for the value it ing that the judges had made places on art in public spaces. Since the late 1960’s, a large L “It’s the end of an era,” their decision at the expense of inventory of works has been added to our urban landscape. Bright explains, “with the the stated ground rules. Barney Seeking these works out is a pleasant way to learn about our passing of Jane Norton and was right and people wrote let- city. Barney Bright contributed to and benefitted from this Barry and Mary Bingham. ters in protest. As a result, movement to locate art in public places. Without a little patronage, DeWeldon’s winning entry soon I would have starved. Patrons adopted the dynamic pose of Mrs. Jane Morton Norton, a member of a distinguished family are hard to come by. Jane Barney’s design. DeWeldon’s fin- with ties to the early settlement of Louisville, was one of Norton was a patron to quite ished work arrived late and was Barney’s earliest and best patrons. Without realizing it, Mrs. a few unknown artists in and too large for its intended loca-

The Courier Journal, Louisville Times out of Kentucky, which was tion at Founder’s Square. Felix DeWeldon’s first entry very unusual in the 40’s and for George Rogers Clark. DeWeldon’s piece was relocated 50’s. She was my earliest at the Belvedere and Barney and biggest patron. Mrs. never entered a public art com- Norton introduced the petition again. Binghams to my work and they, too, became my In spite of the result of the patrons. Mrs. Bingham paid Founder’s Square project, there

The Courier Journal, Louisville Times for the River Horse, the was still much to be happy “George Rogers Clark”, sketch, (Bronze, 6” tall), 1966. fountain sculpture of a about. On the personal side, Barney met Gayle Sandefur in horse with wings and a tail

became available for a statue of Clark. The statue was to be 1967. The pair were to become life companions. Gayle pro- Bill Sheets Photography like a whale that is in front of placed in a new public park at Founder’s Square. A committee vided love, confidence, and a center of stability for Barney. the Federal of judges was formed and 20 artists from around the country She also became his most trusted artistic critic and principal

The Courier Journal, Louisville Times building downtown.” were invited to make submissions. Barney submitted his model. The love Barney had for her was expressed in many Felix DeWeldon’s final Gioia Patton. sculpture standing on the sketch. After deliberating, the committee narrowed their beautiful sculptures. Gayle and Barney married in 1971. “A Life In The Arts— Belvedere in downtown Louisville. choices down to three artists. Although Barney’s sketch was Barney Bright—Sculptor,” Senior Life & Times, small, it was monumental in feeling. The Revolutionary War July 1995, p. 7A. hero was dressed in frontier clothing and forcefully striding, pressing forward. If Rodin’s “Balzac” could move, it would have been similar to Bright’s conception. Paul Fields helping Barney to separate the molds from the torso. The other artists in the running were Robert Crimean of 12 Carrol V. Dowden, “Louisvillians Making Models of Mercury Space Capsule,” The Courier- Journal, April 7, 1963. “Winged Man”, detail of broze head. California and Washington, D.C.’s Felix DeWeldon. Crimean was quickly dropped from consideration. DeWeldon, creator of 13 “Sculpture to Tempt the Curiosity,” The Louisville Times, February 23, 1967. Norton had already contributed to Barney’s career by bringing the famous Iwo Jima flag raising sculpture at Arlington 14 Interview with Paul Fields by Albertus Gorman, August 7, 1997. Romuald Kraus to our city in the late 1940’s. Mrs. Norton later

Cemetery, presented a stiff realistic Revolutionary War figure 15 “The Figure in Sculpture, 1865-1965,” Exhibition Catalogue, J.B. Speed Art Museum, became president of her family business, WAVE-TV, after twin in conventional uniform.17 Louisville, Kentucky, 1965. tragedies: the loss of both her husband and son in separate

18 16 “Barney Bright: First One Man Exhibition,” Exhibition Catalogue, Merida Gallery, automobile accidents in 1964. In the wake of these events, Unable to make a decision, the judges decided to let Louisville, Kentucky, Aug. 21-Sept. 10, 1966. she asked Barney to memorialize the two men in a bronze

17 Charlotte Price DeWeldon amend his design. This outraged Barney. He “Commission for Statue of Clark to Go to One of Three Sculptors,” The Courier- relief for the television station. Charlotte Price Journal and Times, Section F, June 30, 1968. “Winged Man”. 1968. Clay model in progress. 12 13 “Aminal Tree” When a garden was added to WAVE, she The year 1968 was pivotal in Barney glass, and tobacco pipes, he created a fountain installation at the Louisville again turned to Barney to produce an art Bright’s career and it was marked by a series of anthropomorphic pieces full Zoo. 1970. Copper tubing and work. The result is entitled “Winged high level of artistic activity. Since his of wit, imagination, and humor. The welded bronze. Man.” Roughly textured, the bronze is first one-person gallery exhibition in exhibit also included three studies for fourteen feet tall and was completed in Louisville, Barney had also exhibited in the “Winged Man.” One of these is Zoo. The sculpture stood outside the 1968. “Winged Man” with its bowed head St. Louis, Cincinnati, Nashville, now in the collection of Louisville’s Zoo’s front entrance. Commissioned has an air of sadness to it much like the Indianapolis, and Naples, Florida. His J.B. Speed Art Museum. by Mrs. Sydney Rosenblum, the crucifixion scene it sculpture was gaining an audience work honored her late husband who resembles. No ener- beyond his home state. After the high energy of the preced- had been an early supporter of the gy is conveyed by its “Prometheus”. 1968. Bronze, 18” tall. ing year, Barney switched gears again zoo.21 Made of copper tubing and Claugus Collection, Louisville, KY. On portrait works: long thin wings. The Two years after his first Merida Gallery exhi- in 1969. He returned to the idea of a welded bronze, the whimsical foun- “Nobody ever thinks of hav- figure seems caught between landing and bition Barney returned there with a completely new body of hand-made commercial item that tain featured cartoon- stylized ani- ing one done anymore until flight. Barney would later produce a fine work. He displayed twenty pieces in the show and they were a might appeal to a broad audience. Barney mals. Water jets squirted from the after a man’s dead. Then all portrait of Mrs. Norton’s brother the for- critical success. These new works demonstrated Barney was created seven sentimental designs; most mouth of a fish and from the trunk of an they have to bring me are mer Senator Thruston Morton. capable of being expressive beyond the decorative garden pieces of them were of children playing.19 The elephant. The delicate structure of tub- picture with the character he had been commissioned to do. Although small in scale, the tiny figurative works stand about three ing rested upon a base with four pin lines retouched.” Mrs. Norton brought Barney Bright to new bronzes evoked a broad range of emotions. A key piece inches tall and were cast in silver. Each wheels that were activated by water. the attention of the Binghams, another was entitled “Prometheus” and shows the fire thief agonizing in was mounted on an ocean-worn pebble. Unfortunately, this delightful creation Virginia Delavan. “Barney Bright: prominent Louisville family. Like the the flames he had stolen from the ancient gods. This highly tex- The stones came from Maine where was seriously vandalized and had to be His Sculptures Sub for Words.” The Louisville Times, Nortons, the Binghams tured sculpture is aggressively modeled. Finger prints preserved Barney and Gayle Bright enjoyed sum- removed from the zoo. September 14, 1968. “Wine Glass”. Bronze. were involved with the in the bronze lend it mer vacations. The silver figurines were media. For many years, immediacy and spontane- first sold locally, then marketed national- Barney sculpted two notable life-size they owned and oper- ity. Many of the bronzes ly. Barney stopped producing these pieces busts in 1972. One was of the late ated the Louisville in the second Merida in the early 1970s. Pamela Brown. The portrait was com- Working Methods: Courier-Journal and show retain the gestural missioned by her brother John Y. Brown, . . . “It’s too hard to focus on WHAS television. qualities much appreciat- In 1970, Barney completed three new Jr. Pamela Brown had disappeared in an one piece for a long time. They too were great ed in Barney’s sketches. projects for public spaces. One was the attempt to cross the Atlantic in a hot air “Pamela Brown”. 1972. Bronze. Actors I can work on a sculpture for contributors to the large-scale untitled bronze for the public Theatre of Louisville balloon. Barney’s portrait was based on one client and do a pencil city’s cultural life. The “Girl Skipping Rope”. Silver library in Jeffersonville, Indiana, described many photographs supplied by the family. and stone. sketch in a three week peri- Binghams first commis- in the previous chapter. Barney also super- The final portrait reveals a radiantly beauti- od for another client.” sioned Barney to vised the casting of a pair of 15-foot-tall ful young woman. The bronze surface is Stephanie Geromes. design and complete an aluminum grille doors for the Main Branch highly polished which makes it unique “Barney Bright: from Walnut Street to Louisville’s top sculptor,” unusual fountain for of the Louisville Free Public Library. The among Barney’s portraits. “Pamela Brown” The Sentinel-News, Shelbyville, KY, Marion Klein Koehler the WHAS lobby. doors were designed by Barney and Leo now graces the lobby of Louisville Actor’s December 13, 1982, p. 1A.

“Mother and Child”. Silver and Marion Klein Koehler 20 Finished in 1968, this stone. Zimmerman. Although the doors were Theatre. The second great portrait com- “Man in Arm Chair”. Bronze. three-foot-tall bell- first placed at the York Street entrance to pleted in the same year was of A.C. Russell, shaped bronze allowed the Library, they were removed years later. a former Dean of the University of an even curtain of water to fall from its lip. The Binghams also Barney incorporated found Louisville’s Law School. Barney’s bust of purchased a lead garden figure from Barney for their home. objects into his art for the The third major project finished in 1970 Russell is strong and full of character. This Their patronage of his work would play an important role in first time in his 1968 Merida also no longer exists. Barney created an work was a gift from the Law School Marion Klein Koehler one of his most significant commissions: “River Horse.” show. Using a wine bottle, a “Animal Tree” fountain for the Louisville Alumni to the University of Louisville. “A. C. Russell”. Clay model. 14 15 In 1973, Barney created two major public art empowered to pursue a more personal vision. pieces for Louisville: “Truth and Justice” and The twin figures are one of Barney’s earliest “River Horse.” Both works were privately funded. expressions on the reciprocal relationship “Truth and Justice” stands in front of the Legal between man and woman. This would later Arts Building at the corner of Seventh and become a significant theme in his work. “Truth

Market Streets. Both the building and the sculp- Bill Sheets Photography and Justice” was also cast in a smaller bronze lim- “Truth and Justice”, installation in front of the Legal Arts ture were commissioned by William P. Mulloy.22 ited edition. Building, Louisville, KY 1973. Bronze.

“When I began the horse (for the Federal Plaza) I wasn’t sure how far I wanted People still mis- to go. From the time I first takenly call this got it roughed out” (his wife work “Pegasus.” says he did the sketch at A close inspec- home in bed one night) “my tion of the friends kept saying don’t details reveals overwork it, it’s great. They this mythic were all so afraid I’d work it creature has to death, but each time I did the tail of a whale and one imagines it some more, they’d say ‘Wow, would be more at home in the Ohio River I’m glad you kept working on than in the sky. “River Horse” began as a it!’ Finally, I got to where it small sketch and was then scaled up. The told me it was ready; that completed work was fabricated from 43 usually happens—your work bronze sections. “River Horse” is in the same will tell you when it’s ready.” spirit as the great horse fountains found in many European capitals. A smaller bronze edition of “River Horse” John Christensen. “Barney Bright, A portrait of the artist Joyce Morgan Studio carving out a name for himself,” Bill Sheets Photography was also made for sale. The Louisville Times Scene, June 30, 1973, pp.3-4. Barney Bright and Ed Hamilton inspect “Truth and Justice”. By 1973, Ed Hamilton had succeeded Paul Fields as Barney’s studio Joyce Morgan Studio The over life-size bronze depicts a nude Much larger and more difficult to complete, the “River assistant. Hamilton later became a prominent sculptor in his own woman floating above a nude man. Both Horse” was 21 feet tall. Installed by a fountain in a right and one of our nation’s chief memorializers of the African- figures have an arm raised in a gesture modest half-acre park, the work is located between American experience. He credits Barney with teaching him how to to maintain balance. This clas- the Federal Building and Chestnut Street. “River become a successful sculptor. Once again, Barney continued the lega- sical pair humanizes the severe- Horse” was privately commissioned by Mrs. cy that had been passed on to him by his mentor Kraus. ly contemporary office building Mary Bingham and given as a gift to the city.23 behind it. “Truth and Justice” is a “River Horse” with its tall sweeping wings was laudable example of how the artist was intended to be symbolic of the City of Louisville.

16 17 Chapter Five The Clock

f all of Barney Bright’s many artworks the one people rememberO best is “The Louisville Clock.” This lively parody of the Kentucky Derby is also sometimes called “The Horse Race Clock” and “Derby Clock” by its many

Barney and scale model of “The admirers. The project was initiated by the Louisville Louisville Clock”. Central Area (L.C.A.). This private group was dedicated to reinvigorating the city’s downtown. L.C.A. had been responsible for completing the five-block-long pedestrian River City Mall. Today it is called the

Bud Kamenish Fourth Avenue Mall. In the center of this space a brick and concrete platform had been con-

Bill Sheets Photography Sketches for “The structed to hold a clock tower. Years “River Horse”, fountain. 1973. Bronze, 21 feet tall. Louisville, KY. Louisville Clock”. after the mall’s construction the platform remained unoccupied. “I was selected as an after- thought—I’m used to it.” L.C.A. executive direc- It’s not a Pegasus horse, tor Wilson Wyatt, Jr., con- Judith Berzof, “Barney Bright (even though everyone Races Against Time,” The Making of the “River Horse” vened a meeting of potential The Voice-Jeffersonian, thinks it is). Drink enough contributors interested in funding September 30, 1976 martinis and you’ll see it These photographs document some of the stages in the construction of the “River public art for Louisville spaces. He pro- swimming up the Ohio.” Horse”. The original, small clay model can be seen in the posed the mall site as one possible location for a Gioia Patton. upper left photograph page 17. The model is enlarged to work of art. Wyatt thought this empty plat- “A Life In The Arts— Barney Bright—Sculptor,” actual size. A metal armature is fabricated and fleshed- form would receive little interest. To his sur- Senior Life & Times, July 1995, p. 7A. out with styrofoam. Plasticine clay is spread over the prise, Henry Heuser, Sr., president and director rough form. The clay sculpture is modeled to a finished of the Henry Vogt Machine Company state. Plaster cast sections are made to prepare the final and president of the Vogt mold. The last photo Foundation, was enamored with the shows the completed art idea of a clock.24 Jefferson County work installed in front of Government joined in and committed the Federal Building, to sharing the design and construction Louisville, KY. costs. Later the City of Louisville agreed to maintain the clock.

18 Jean Dietrich, “Jane Norton—Executive with Artist’s Touch,” The Courier-Journal, October 25, 1964, p.12. An eight person committee was formed to find a suitable designer for the clock. 19 J. Shrady Post, “Barney Switches to Miniatures,” Voice-Jeffersonian, November 27, 1969. The committee started looking in

20 Sarah Lansdell, “Painter Emerges from Architecture,” The Courier-Journal and Times, November 1972 and it took a full year to June 28, 1970, p.F-14. find the right artist for the job. The selec-

21 “Public Places,” Louisville Magazine, July 1970, pp. 88-89. tion committee interviewed prominent international and national artists and 22 “Burgoo,” Louisville Magazine, July 1973. asked them to submit proposals. Among “The Louisville Clock”’ in its original location, 1976. 23 Patton, p. 7A. 18 19 King Louis XVI the artists solicited were Wen-Ying Tsai of Paris, Watterson (a noted Louisville jour- The race was one lap long ending at the finish line. The day’s would complain to Barney about not being able to see the race Mary Anderson Franta Belsky of London, the Baschet brothers nalist). All of the grandstand char- winner would take a victory lap to the cheers of the audience. for weeks on end. The City of Louisville, however, was of Paris, Harry Bertoia of Pennsylvania, Charles Eames of acters were cast from aluminum and The clock figures only operated during daylight hours to pre- responsible for the clock’s upkeep. Often the clock’s problems California, and Felix DeWeldon, now working in New York.25 painted. Each figure stood about vent excessive wear and tear. exceeded the budget allotted to it for the year. Henry Watterson An excellent documentary on “The Louisville Clock” by four and a half feet tall. Alfred Shands Productions, entitled “The Craziest Thing You Such a complex mechanism required technical expertise. Mike Development on the mall posed a new threat. The Galleria, a Ever Saw”, shows many of the potential designs. Most of them An oval track 26 feet in diameter encircled the piece. The Heumann, President of Fisher Klosterman Inc., engineered the large shopping complex with two office towers, a glass atrium, were not in keeping with the character of the city. Many were track was tilted at an angle to accommodate viewing. The five mechanical elements. Frank Sharp of Electronic Systems and a skywalk connecting it to existing businesses, was the hot in fact too conceptual or too costly. With no front runner in racers and their mounts were an equally fanciful and illustrious Development Corporation installed the computer. Louisville’s new idea. The clock was moved out of the way. In 1981, The sight, Barry Bingham, Sr., suggested Barney be given a chance group: the Kentucky frontiersman, Daniel Boone kicking a American Brass and Aluminum cast most of the track’s compo- Galleria’s developers paid the city $100,000 to move the clock to submit a proposal.26 Barney accepted the challenge. bear, Louisville’s namesake King Louis XVI in a regal chariot, nents. A Detroit foundry produced the racing figures. one block south. “The Louisville Clock” was set up but “I cried for three weeks. So Louisville’s founder George Rogers Clark on a galloping horse worked only sporadically. In 1986, the clock was in the way I gave up again. Then while The clock design had to meet several with his sword drawn, the county’s At 2031 Frankfort Avenue Barney again. The Galleria determined it needed a trolley to move I was eating lunch at a local criteria. It needed to be vertical and it namesake Thomas Jefferson assembled a talented team. His studio people up and down “After several weeks I gave hash house, I got the idea of could not be a hindrance to the mall’s behind a horse, and Louisville’s assistants for the clock were Ed the mall so the clock up. Then, a half hour after making it a big toy. They pedestrian traffic flow. The clock had beloved steamboat the Belle of Hamilton, Mary Ann Currier, Michael was taken down. It I gave up, it all came to me— accepted that.” to be animated. Also, the design was Louisville depicted as a buxom fig- Carter, Gayle Bright, and Tom Poppe. was moved to a new the idea of a race with his- to be symbolic of the history of ure kicking a paddlewheel. The Lucy Shapero and Martha Keeney theme park called Judith Berzof, “Barney Bright torical characters in a clock. Races Against Time,” Louisville. Of course, the clock also racers were also painted cast alu- Heyburn did the historical research.28 Kentucky Kingdom. The Voice-Jeffersonian, Your intuition doesn’t work needed to attract people downtown. minum with the tallest figure The clock never September 30, 1976. when your brain does.” Thomas Jefferson being 50 inches high and weighing On December 3, 1976, “The Derby operated again. In 1992, the badly worn landmark was ware- Zachary Taylor D.W. Griffith George Rogers Clark Judith Berzof, “Barney Bright For weeks Barney could not think of a nearly 80 pounds. All ten figures Trial” as it was called was held.29 The housed where it remains today. Races Against Time,” The Voice-Jeffersonian, good idea. On the verge of giving up, he suddenly had a leap had moving mechanical parts. The track was elevated so that premiere of the clock attracted a downtown crowd of 3,000 September 30, 1976 of imagination. The clock could be based on a horse race with people could pass underneath it. people. Politicians made speeches and then the clock was acti- A movement is growing to resurrect the clock and place it historical figures as an audience. Excited, Barney cleaned his vated. Barney was worried, but everything went as planned. back downtown. New mechanical and electronic upgrades studio and threw a small party for the committee to unveil his Barney originally wanted to substitute the Thomas Jefferson “The Belle of Louisville” was the first winner which seemed to would be needed at considerable cost. When it was built, design. It was rejected as being too costly and cumbersome. figure with a representation of himself as a centaur with his please the crowd. The clock was a success! nearly $300,000 was invested in it. “The Louisville Clock” Barney nearly gave up again. Three weeks later it occurred to wife Gayle on his back. The committee rejected this idea. accomplished its goal of bringing people downtown and him that the clock should take the form of an amusing giant “The Belle of Louisville” was first modeled as a nude figure. Amusing articles about how the gained national attention for the city. Artist Red Grooms mechanical toy! This time the committee This too was rejected so Barney put a bikini on clock might encourage illegal thought it was the most wonderful thing he saw in Louisville.30 approved. Henry Heuser of the Vogt Foundation her making “The Belle” even more erotic. gambling appeared in the news- Barney appreciated this compliment greatly. was quoted as saying, “Finding Barney Bright was papers. Barney foresaw this possi- like finding oil in your backyard.”27 In operation the racers would parade around the bility, especially if the computer track at the stroke of each hour accompanied by consistently picked each winner When the clock was finished, it would stand 40 sound and music. At noon the actual race of the at random. He thought this feet tall. The time piece would be located on top day would begin. A computer ran the show and might be a good way to raise Oliver Cook of a Victorian-style gazebo or grandstand. Within made each day’s winner unpredictable. The odds money for the arts, but, of course, Daniel Boone the gazebo were five historical characters: Mary Anderson (a of the same mount winning two days in a row were 14,400 to this idea was rejected, too. Belle of Louisville famous Louisville actress), Zachary Taylor (Kentucky’s first 1. A trumpet would sound and the race was on. The spectacle U.S. President), Oliver Cook (a well-known local musician), lasted about five minutes. Each figure was powered by an elec- “The Louisville Clock” was prone to mechanical difficulties. D.W. Griffith (a Kentucky born film maker), and Henry tric motor. A drive chain pulled the racers around the track. Its exposure to the elements year round caused harm. People

20 21 Chapter Six Cave Hill & The Statesmen

ave Hill Cemetery is Louisville’s show place for Douglas Fowley C mortuary art. Dedicated in 1848, many prominent citizens have found final resting places within the cemetery’s 296 acres. Cave Hill is also a renowned arbore- tum with hundreds of varieties of trees and shrubs. Seasonal changes work in concert with the mon- uments to make the cemetery a beautiful and poignant experience throughout the year.

Barney Bright left a lasting contribution to Cave Hill through Ed Hamilton his bronze art. He used the figure’s expressive potential to create memorable pieces. The work he did for the cemetery is moving, interesting, and an antidote to the monotony of granite headstones.

In 1979, Barney completed a memorial for Jody White. Jody was a sixteen year old boy who died in a car acci- dent. He had been a Bright family friend. Barney’s finished memorial is an emo- tional work. The nude figure seems to leap from his pedestal with his arms Barney and Micheal Carter reaching for the sky. A for- Bill Sheets Photography mation of three geese flies “Saundra Twist”, detail. Louis J. Moseson overhead just touching the boy’s fingertips. The birds seem to Lucy Shapero carry his spirit with them. Slightly less than life size, the sculpture communicates vulnerability and release.

24 Ronald Lee Fleming and Renata von Tscharner, Place Makers, New York: Harcourt “God Always Seems To Pick His Prettiest Flower” is the Brace and Jovanovich, 1987, p. 50. inscription on the memorial for Saundra Twist. Barney mod- 25 Ibid, p. 51. eled the life-size bronze from family photographs and it is an 26 Patton, p. 7A. accurate portrait. “Saundra Twist” created a stir in 1981 when

27 Fleming, p. 51. a few people thought that the long dress which clings to her form was too revealing. Visitors to the cemetery who appreci- 28 Louisville Central Area, “The Clock, Louisville’s Giant, Old-Fashioned, Painted Metal Toy,” Unpublished Fact Sheet, p. 4 (Bright Archives). ate the statue often leave flowers in her hands.

29 Ibid., p. 1. “Jody White” Memorial. 1979. Bronze. Cave Hill Cemetary, View from the Grand Stand of “The Louisville Clock”. Louisville, KY. 30 Fleming, p. 52. 22 23 Bill Sheets Photography

places of Barney and Gayle Bright. Barney creat- Ford. The monumentally scaled head is ished by hand using metal files. In ed a double portrait of the couple affectionately deeply etched with character lines cre- 1984, the 700-pound finished portrait cuddling for their bronze memorial. The sculpture echoes the ating beautiful textures. The work cur- was unveiled at the state capitol in famous Etruscan sarcophagus with a married couple upon it. rently stands in front of the Court Frankfort. Barney and Gayle’s memorial shows the strength of their rela- House in Owensboro, Kentucky. tionship. The two parts (man and woman) form a whole. The Barney also did a portrait of former “He was proud of the way marker will sit low to the ground. The artist’s intention was to Barney followed with an Italian white Governor Brown in 1984. A second she looked.” Bright said. “I depict the lovers in the nude. Of course the cemetery board marble portrait bust of Colonel Colonel Sanders portrait, this time a designed a simple gown that vetoed this idea. A compromise was reached by discreetly Harland Sanders. The Colonel was still bronze bust, was completed in 1986 for showed her charm.” adding drapery around the figures. Barney liked the result. alive in 1980 when Governor John Y. the world headquarters of K.F.C. in Ken Shapero “‘Prettiest flower’ Brown, Jr., commissioned Sanders’s por- Louisville. Sandra Twist statue reflects her beauty and family’s love,” Fortunately, not all of Barney’s memorials were for cemeteries. trait. Brown who once owned The Courier -Journal, January 27-28, 1982, His renown as a portraitist had been growing for years. The Kentucky Fried Chicken felt Sanders Barney envisioned the portrait of for- Neighborhoods/East County, p. 2. success of works like “A.C. Russell” and “Senator Thruston had greatly contributed to the image of mer U.S. Senator John Sherman “Gayle and I are stretched Morton” made Barney the sculptor of choice for a number of the commonwealth and deserved this Cooper as “larger than life.” Cooper was out on a pillowy thing . I have important commissions honoring Kentucky statesmen. recognition. Barney had just completed a Republican from a traditionally one arm around her and one a plasticine clay model of Sanders with Democratic state who served in the hand out pointed and she’s In 1979 (the same year as the “Jody White” piece), Barney trademark whiskers, glasses, and bow U.S. Senate for over twenty years. He sort of cuddled up against completed a splendid bronze portrait of Senator Wendell H. tie. The clay model was then trans- also served as ambassador to India and

Bill Sheets Photography me. It’s areally sweet ferred to stone by using an industrial East Germany.32 Barney’s six foot six “Sheri Lynn Applegate”. c. 1994. Bronze. piece.…“We’re kinda nude.” pantograph with a guiding bit attached inch bronze of Cooper stands in Federal to one arm. The machine Square Park in Somerset, Nina Walfoort. “A Grave Interest— “Saundra Twist”, Memorial. 1981. Sculptor wants to be depicted could create a near-perfect Kentucky. The work was com- nude for eternity,” The Courier-Journal, “Harry Collins” is another popular Cave Hill sculpture created duplicate of the original. missioned in 1984 and dedi- January 27, 1995. by Barney. The life-size bronze of the former magician is tak- Fine details would be fin- cated two years later. ing a bow from the stage. The performance over, the magician smiles mischievously. The bronze On The Magician: “His has great appeal and visitors often leave coins at widow wanted him to be its base. Barney’s original design included a top remembered for the profes- hat and cane.31 All designs, however, must be sion that he loved so much. approved by the cemetery’s board and they did Between the two of us we not like these details. Barney would have to came up with Mr. Collins tak- defend his designs to the Board on more than one occasion. Bill Sheets Photography ing his final bow on the stage of life.” A golden bronze memorial to “Sheri Lynn Applegate” is also Gioia Patton. “A Life In The Arts— by Barney’s hand. This near life-size figure communicates Barney Bright—Sculptor,” Senior Life & Times, ecstacy through its dynamic pose. The dress she wears is styl- Bill Sheets Photography July 1995, p. 7A. ized as an open flower. Her face wears a peaceful expression.

Barney’s last sculpture for Cave Hill is not on site at the time Bill Sheets Photography Plaster original, 1990. of this writing. This piece will eventually mark the resting Bill Sheets Photography “Harry Collins” Memorial. c.1985. “Barney and Gayle Bright” Memorial, c.1990. Bronze, 4 feet long. 24 25 Chapter Seven The Search

“Activitree”. Bronze, c. 1985. Jewish Community Center, Louisville, KY.

n 1985, Barney Bright and a small crew of people installedI the artist’s masterpiece, entitled “The Search.” The work was commissioned for the New Albany-Floyd County Public Library in southern Indiana. The largest and most ambitious bronze Barney ever attempted, the work is the result of eight years of planning, fundraising, and fabrication. The completed sculpture weighs 3,000 pounds and is 13 feet long, eight feet high, and seven feet wide.

The story behind “The Search” is a remarkable tale about Bronze detail and clay model of Senator John Sherman Cooper, 1986 effort and desire. “The Search” actually began as a small sketch for an outdoor sculpture that would have stood in Senator Wendall Ford posing for portrait, 1979. “Different people see differ- front of a Louisville bank. The commission never material- ent things in it. But that’s ized. Barney, however, retained the sketch he called “The what I wanted to happen—to People Tree.” Human figures sprout like branches from a leave the figures up to the central tree form. Trees symbolize growth and knowledge people’s imagination. It’s a and they support the mythic world. Tree imagery also constant search to find Bill Sheets Photography appears in two other Bright works commissioned by the yourself, to find a mate, to Weisberg family of Louisville. The “Activitree” for the find God. Isn’t that what life Jewish Community Center features figures is all about? You keep among its branches. A tree also grows searching until you find a from the Weisburg family grave Colonel Sanders partial answer that keeps marker. Barney kept the you searching for more “The Search”, finished bronze at the New Albany-Floyd County Public “People Tree” on a shelf answers.” Library, New Albany, IN. and waited for the right time Diane Heilenman, “Seekers Shall Find ‘The Search” to bring it to life. Ends in New Albany,” Senator Thruston Morton, clay The Courier- Journal, model. May 5, 1985, p. I-10. The opportunity came when the Indiana library approached the artist about doing a significant work of art. Barney presented a modified version of “The People Tree” now called “The Search.” “Weisberg Family” Memorial. Bronze and stone, 1991. Adath The model was elongated horizontally to harmonize Jeshurun Congregation with the library building’s profile. The committee Cemetary, Louisville, KY. loved it. A price tag of $46,000 was agreed upon. It took seven years to raise the money. In the interim the expenses of doing business also rose. After seven years, the original price would barely cover costs and there would be no profit. Barney grappled with 31 Nina Walfoort, “A Grave Interest,” The Courier-Journal, January 27, 1995. whether or not to proceed. He also knew the chances “The People Tree”. 1974, clay model. 32 William Keelar, “Ex-Sen. Cooper Shows Calm Before Storm at Unveiling,” The of being able to raise more money were slim. Finally At work on clay portrait of John Y. Brown, Jr., 1984. Courier-Journal, September 28, 1986, p. B1. 26 27 Chapter Eight Personal Visions & Last Works Bill Sheets Photography

he decided the opportunity to do a piece he learning experi- hroughout Barney Bright’s long career he attempted to really loved on such a scale was too rare to ence in foundry addT to life by using the human figure in his art. Since the pass up. He agreed to do “The Search” at work. beginning of culture, the human form in all its manifestations

cost. Bill Sheets Photography has been the central subject matter in art. Barney’s choice to “The Search” was use the nude in his work frequently opened him up to criti- “Gayle” in profile. The fabrication of “The Search” was a complex dedicated on May cism. However, this is a greater reflection of repressed atti- process. A 14-inch clay model was scaled up by a 11, 1985. The tudes towards sexuality than a reflection on the content of factor of 12. David Lind and Jep Bright were the sculpture is a grand Barney’s work. studio assistants doing this work. For Lind “The allegorical work. Search” was a once in a lifetime Bill Sheets Photography Like any great art- Barney was not a religious man in a strict sense. His art, how- learning experience.33 The knowl- work, it provokes ever, expresses spirituality. Barney approached the human fig- edge he gained would be put to more questions than it good use in his own career as a answers. It is difficult sculptor. Lind and Bright con- to determine the rela- “I think the human body structed an armature that was tionships between the nude, or partially clothed, is carved in foam approx- Bill Sheets Photography interconnected fig- “My favorite piece is called the most expressive vehicle imating the forms of ures. Some are in con- ‘The Search.’ It is in front of I have ever worked with.” the sculpture. flict; others are self- the New Albany Library. It Plasticine clay was absorbed. Gioia Patton. gave me the opportunity to “A Life In The Arts— then applied over the Characteristically, Barney Bright—Sculptor,” combine eleven life-size fig- forms. Next Barney Barney included a self-portrait. He called the Senior Life & Times, ures into one sculpture.” July 1995, p. 7A. modeled the eleven Bill Sheets Photography figure the “Philosopher.” He portrayed himself Gioia Patton. figures in “The Search.” in his seventies even though he was in his late “A Life In The Arts— Barney Bright—Sculptor,” fifties at the time. The sense that the figures Senior Life & Times, July 1995, p. 7A. Plaster molds were made of the completed figures are searching for meaning gives it relevance. It and from them wax positives were produced. A is entirely appropriate for a library. ceramic shell mold was put over the waxes and Bill Sheets Photography then the wax was burned out in a kiln. Hence, the term “lost wax.” The hollow ceramic molds were now ready to accept the molten bronze. Ceramic shell casting reproduces the finest details. The simplest sections were David Lind assisting Barney on the patina of “The Search”. cast using a different process involving sand molds.

“The Search” was fabricated from over 130 individually

cast sections.34 The bronze pieces were welded Bill Sheets Photography together like a large three-dimensional puzzle. The metal was then “chased” with chisels and grinding tools to eliminate the seams left from 33 David Lind in a Conversation with Al Gorman, August 15, 1997. casting and joining. The completed work was sand 34 Diane Heilenman, “Seekers Shall blasted and given a golden brown patina. For Jep 2031 Frankfort Avenue Studio, early 1970’s. Barney working on clay Find ‘The Search’ Ends in New model for “Women with arched foot”. Bright constructing “The Search” was his greatest Albany,” The Courier-Journal, May Plaster detail of face.

Bill Sheets Photography 5, 1985, p. I-10. 28 29 The “Dance of Joy”, ure in a reverential way. In his work the Marion Klein Koehler over operation of the foundry business which 1989. Bronze, 65” tall. human form becomes sacred—imbued with “Blue Gayle”, c.1972-74. moved from the Frankfort Avenue studio to Schilling Collection. Barney still Plaster, 17.5” tall x 30” wide. the divine spark. Although Barney’s work has East Washington Street. Raymond Graf, the last had another rarely been considered in this light, this expression of spiritual- of Barney’s excellent studio assistants, moved on to assist Jep flurry of public works ahead of him. With one exception, ity is most apparent in some of his most personal pieces. with the foundry business and to develop his own work. these pieces are all executed in a tight realism, a character- Despite these changes, Barney continued to Louis J. Moeson istic shared by his later commissions. In 1994, Barney “Reclining Man and Women, leg up”. 1972. Plaster.

In the early to mid 1970’s, Barney fashioned add to his already impressive body of work. Bill Sheets Phtography completed a cycle of five works for the lobby of the many lovingly crafted works informed by his porary Queen Nefertiti. The cloth Women’s Pavilion Health and marital relationship. Many of the sculptures are In 1988, Barney completed a 12-foot-tall wrap around her head was a late addi- Resource Center located in “Dr. J said his nose was studies of his wife Gayle. She appears as herself bronze of basketball hall of famer Julius tion and gives the sculpture added Louisville’s Alliant Medical too big and his thumbs “Sleeping Gayle”, c. 1972-74. during periods of rest. “Blue Erving. The completed work stands in height and presence. Pavilion. The bronzes focus on Bronze, 20” tall x 11” wide. were too long,” Bright said. Gayle” and “Sleeping Gayle” front of the Spectrum arena in motherhood. A large work entitled “I came back to the studio are two examples. In a series Philadelphia. The finished “Dr. J.,” as the Barney completed two major works in “Ageless Serenity” is the center- to make some changes to of amorous couples the fig- basketball star is popularly known, shows 1989. The first entitled “Risen piece. Barney also completed a life- satisfy Dr. J.” ures merge, forming a com- Erving rising up to dunk a basketball. Christ” was for the Church of the size bronze Native American figure plete whole. Mythic fantasy Barney first studied the great athlete and Annunciation in Shelbyville, holding a spear for a local golfing Ron Cooper. “Sculptor shows Bright side of Julius Erving,” is represented in “Centaur his career. The finished sculpture is a Kentucky. This bronze of Christ on Marion Klein Koehler community. The figure stands at Business First, Barney working on “Gayle”. and His Woman” sculptures. wealth of details. Everything from the the cross is in anticipation of the Indian Springs off Westport Road. April 27, 1987, pp. 1 and 22 “I examined still photographs The most fruitful works came hairstyle to the number of times the Resurrection and not the usual painful crucifixion and watched videos of his Louis J. Moeson from a series called shoelaces are crossed were considered.35 scene. Barney modeled the figure based on his own Barney’s “Harold Bradley Allgood games,” Bright said. “I had “Centaur and His Women”. “Reclining Man and “Julius Erving” was financed from the body. This work represents a homecoming for the Rescuers Memorial” is located in the team send me his shoes Woman.” These gestural sale of small scale replicas of the statue. artist. “Risen Christ” was the only work commis- Highland Memorial Gardens in (size 15) and his jersey (size Marilyn: sketches show a man and sioned for his birthplace of Shelbyville. Mount Washington, Kentucky. The 44), so I could get a feel for “I am doing it strictly on my woman intimately sharing a A photograph taken during the making of monument supports three life-size the guy.” own because I thought she bed. It was from this group “Dr. J” shows a finished model of a nude In the same year, Barney finished a portrait of bronze figures that Barney complet- was such a lovely young Ron Cooper. “Sculptor shows that Barney would create his woman entitled “Marilyn.” This was one “Woody Stephens and Forty Niner.” The famous ed in 1995. The memorial honors Bright side of Julius Erving,” lady. I wanted to see if I Business First, and Gayle’s Cave Hill of Barney’s favorite sculptures. “Marilyn” thoroughbred trainer is shown with the last of his the memory of firefighter Brad could capture her personali- April 27, 1987, pp. 1 and 22. Cemetery memorial 20 years five Belmont Stakes winners. This work can be seen Allgood who lost his life in the line ty and looks in the sculpture. later. “Dance of Joy” also in Stanton, Kentucky. Barney never followed his of duty. Allgood, shown standing

Louis J. Moeson Right now she’s fat and originates from this series first father’s advice to learn to do horses well. Equine art flanked by two kneeling figures—a “Reclining Man and Women”, pregnant, so I’m having to appearing in a piece entitled is its own specialty. His other notable attempt is a police officer and an emergency c. 1972-74. Plaster, 38” long. finish up without her. I start- “Reclining Man and Woman, small bronze entitled “The Fighting Finish” and it medical technician. The monu- “Julius Erving”. Clay model. ed that some time ago but Legs Up.” A further variation depicts the climax of the 1933 Kentucky Derby. ment was designated as the state’s quit working on it t do some on the couple theme appears in the double portrait bronze official peace officer memorial by Governor commission work.” relief of long-time friends “Jack and Lucy Shapero.” On December 13, 1989, the Governor’s Awards Brereton Jones.36 Kentucky Tim. “Portrait of a Sculpture: Barney Bright.” in the Arts were presented. Barney Bright was Holiday Messenger, In 1987, Barney Bright turned 60 years old and contem- recognized with the “Life Time Achievement in In 1996, Barney finished his last two commissions Spring 1988. vol. 1, issue 3, p.1. plated retirement. Few artists actually retire and Barney the Arts” award. A gala reception was hosted at for outdoor spaces. Louisville’s Jewish Community was no exception. He made art out of an inner necessity. “Jack and Lucy Shapero”. 1992. Bronze, 24.5 x 37”. the Governor’s mansion. Receiving the award Center became home to a 12-foot-tall sculpture Instead of retiring completely, Barney accepted only the most represents a high point in the artist’s realistic approach to the was a gratifying experience for Barney, Gayle, honoring the victims of the Holocaust. The work interesting or lucrative commissions. Barney’s son Jep took nude. The figure has a dignified aura. She resembles a contem- and his family. was commissioned by Harvey Sollinger whose par-

30 31 “Marilyn”. Clay model. ents lost their lives in this horrible event. The include over 1,000 completed pieces. Barney work is composed of a prison fence, barbed wire, also generously shared his experience with a and the tortured images of faces and hands number of younger artists who would in turn worked into the flames that rise over the wire. make contributions to our community with Abstract and expressionistic, this work was a their own art. departure for Barney. “Risen Christ”, 1989 “Ageless Serenity”, 1994. Barney created memorable Barney ‘feeling the pose’ for “Risen Christ”. Unveiled in 1996, the final images that communicate publicly dedicated sculpture is with a refreshing directness. Bill Sheets Phtography called “The Fire Fighter’s In his public works and his Running girl, detail Memorial.” The work stands personal visions Barney used from “Fallen “The nature and direction of Firefighters Memorial”. across the street from the Hall the figure to express the range my sculpture during the last of Justice. A life-size bronze of the human experience. Indian Springs bronze figure, 30-odd years has been to 1994. fireman is shown saving the Whether monumental or bring the human figure back lives of two children. The intimate in scale, Barney’s to life in the mid-20th centu-

monument’s black granite Greg Biagi Photography work ultimately enriched our ry art.” base has the names of 75 Church of the Annunciation, Shelbyville, KY. community by giving form to Owensboro Museum of Fine Art.: Jefferson County firefighters who have lost our heroes, our grief, our religious belief, Exhibition Catalogue. “The Kentuckians,” 1987. their lives in the line of duty since 1874. and our civic pride. His work will contin- p. 40-1. ue to communicate with us and connect Barney Bright was 70 years old when he us in private homes and public spaces passed away in Louisville on July 23, 1997. throughout the region. During his 50-year career he produced a remarkable body of work—estimated to On Governor’s Award for an “Artist for Lifetime

Achievement”: “Harold Bradley Allgood Resuers’ Memorial”, 1995

“It’s a recognition different Bill Sheets Phtography from a commission,” he said, “Fallen Firefighters Memorial”, 1996. “It’s an ego trip; I feel good!” “Woody Stephens and Forty Niner”, 1989. Nancy Snider. “Governor’s Awards in the Arts,” The Kentucky Marquee, “Holocost Memorial”, January 1990, p. 5. and detail, 1996. Bill Sheets Photography

35 Diane Heilenman. “Bright Finds ‘Dr. J’ to be a Statuesque Subject,” The Courier-Journal, May 3, 1987, p. 1-10.

36 Paul Baldwin, “Monument to Honor Rescue Workers,” “The Fighting Finish”. The Courier-Journal, April 26, 1995, Neighborhood

Section, p. 2. Bill Sheets Photography 32 33 Selected Bibliography Additional Photo Credits

ARTICLES BOOKS Inside title page: Page iv: “Garden Figure”. Early 1960’s “Sisters” Christensen, John. “Barney Bright: A Portrait of the Artist Fleming, Ronald Lee and Renata Von Tscharner. Place Lead, approximately 4 feet tall. Early 1950’s. Carving Out a Name for Himself.” The Louisville Times. Makers: Creating Public Art That Tells You Where You Are. Jones Collection, Louisville, KY. Lead, 2 feet tall. Scene. Sat., June 30, 1973.p3-4. Orlando: HBJ, 1987. p. 50-3. Logan Collection, Louisville, KY.

Delavan, Virginia. “Barney Bright: His Sculptures Sub for VIDEOS Page i: Words.” The Louisville Times. Sat. Sept. 14, 1968. “Garden Musician: Trumpeter”. 1993. Page v: KET. Kentucky Life. Program 301. Nov. 9, 1996. One of three clay models, 50” tall. “Two Women”, garden figures. Kentucky Enquirer Digest. “Kentucky’s Sculptor Laureate From Duthie Collection, Louisville, KY. Early 1960’s. Louisville.” Sun., March 27, 1977.p2-3. Blythe Productions. Senior Scene. TV Magazine Show # 96, Hammered lead, 40” tall. 1991. Kentucky Tim. “Portrait of a Sculptor: Barney Bright.” East Page ii: End Messenger. Vol. 1 Issue 3, Spring 1988. Alfred Shands Productions. Craziest Thing You Ever Saw, “Garden Musician: Cymbalist”. 1993. Page vi: 1977. One of three clay models, 50” tall. “Nymph”, fountain figures. Leopold, Helen S. “Barney Bright sculptor’s work is adding a The third figure, saxaphonist, (not shown) 1984. new dimension to the Louisville townscape.” Louisville complete the bronze fountain group of the Bronze, approximately 4.5 feet tall.

Magazine. June 20, 1968. p28-29. Duthie Collection, Louisville, KY. William Strode. Hillcrest Farms, Goshen, KY.

Patton, Gioia. “A Life in the Arts- Barney Bright- Sculptor.” Senior Life & Times, July 1995. p7A. Page iii: Page vii: “Lead Garden Piece” “The Three Graces”, garden figures. Woolsey, F.W. “Barney Bright.” The Louisville Times Sunday Early 1970’s. 1983. Magazine. Sunday, Nov 2, 1980. p9-12. Lead, approximately 3.5 feet long. Clay models, 44” tall. Bingham Collection,Louisville, KY. Doll Collection, Louisville, KY. CATALOGUES Photograph, William Strode.

Cincinnati Art Museum, John Herron Art Institute. Contemp- Page iii: orary Sculpture 1961.Cincinnati, Indianapolis: Cincinnati “Woman with Arched Foot”. Chapter Inital caps: Art Museum and John Herron Art Institute, 1961. “Man with Beard” Early 1970’s. Bronze, 1966, 7” tall. Altrusa Club Of Louisville, Inc. Cut Cast Carved. Louisville: Bronze, Approximately 4.5” long. Louisville Area Chamber of Commerce, Inc., 1974. Mulloy Collection, Louisville, KY.

JB Speed Art Museum. The Figure In Sculpture, 1865-1965. Oct. 16-Nov. 28, 1965. Louisville: JB Speed Art Front Cover: Museum, 1965. “Philosopher”, from “The Search” 1985. Back Cover: Owensboro Museum of Fine Art. The Kentuckians. July 11- Bronze, 10” tall.. “Marilyn”, back. Sept. 6, 1987. Owensboro: Owensboro Museum of Fine Collection of Jep Bright. 1988.

Art, 1987.p 50-1. “Back”. Early 1960s. Clay model, 3/4 lifesize. Hammered lead. 34 35 Louisville Visual Art Association The Water Tower

racing its lineage back to 1909, the Louisville Visual Located on the banks of the Ohio River, L.V.A.A.’s flagship is Art Association is our city’s oldest art organization. During the beautifully restored River Pumping Station No. 1. More thisT time, the series of community art groups that eventually commonly called the Water Tower, this Classical Revival became L.V.A.A. have provided valuable services to artists building dating from 1858 was Louisville’s first water pumping and the art loving public. L.V.A.A. has subsequently been rec- facility. In 1971, the Water Tower was declared a National ognized as one of our region’s best advocates for contemporary Historic Landmark. art and art education. For more information about L.V.A.A. check out our web site “Barney Bright: A Fifty Year Celebration” is only the latest at: www.louvsart.org or contact us at 3005 River Road, connection our organization has had with this significant Louisville, KY 40207, phone: 502/896-2146. artist. Early in his career Barney was first a student and later an instructor at the then named Art Center Association. Today’s artists have similar opportunities to show their work and pass on their knowledge in the many exhibitions, classes, workshops, and outreach programs offered by L.V.A.A.