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SPONSORED BY THE CHICAGO OFFICE OF TOURISM 04/05, QTY ??M 7 LOOP 1967 and his French was was initially greeted with Pablo Pablo Picasso

Richard J. Daley Civic Center Plaza 50 W. Washington St. The Picasso controversy. At the time of its installation in 1967, the abstract design puzzled many and the non-traditional materials and huge scale angered others. However, this gift the from artist to the people of Chicago has over time become an icon of the city and a source of civic pride. While opinions of subject matter the sculpture’s vary, it is acknowledged as a monumental achievement in Cubism, the artistic style pioneered and explored by Spanish artist contemporary, Georges Braque, between 1907 and 1911. The Picasso is exemplary of Cubism in its use of multiple perspectives, combining and frontal profile views in a single vantage point. Cor-Ten steel,Cor-Ten H 50 ft. Design donated by the artist; by The funded Field Foundation of Illinois, Charitable Fund, the Wood’s Inc. and the Chauncy and Marion Deering McCormick Foundation. The first monumental modern sculpture to be placed in the Loop, PABLO PICASSO PABLO (The Picasso) LOCATION:

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8 9 HARRY BERTOIA 1975 ROGER BROWN 1990 ALEXANDER CALDER 1974 ALEXANDER CALDER 1974 Untitled Sounding Sculpture Arts and Science of the Ancient World: Universe LOOP LOOP The Flight of Daedalus and Icarus

Mosaic, H 27 ft. x W 54 ft. Commissioned by Ahmanson Commercial Development Company LOCATION: 120 N. LaSalle St. Painted steel and motors, H 33 ft. x W 55 ft. Copper-beryllium, brass and granite; Roger Brown’s mosaic captures the mythic Daedalus and Commissioned by Sears, Roebuck and Company six of 11 elements on display, H 16 ft. (each) Painted steel, H 53 ft. Icarus, as they escape the labyrinth of the deadly LOCATION: Sears Tower, Wacker Drive Lobby Commissioned by Amoco Corporation Commissioned by the U.S. General Services Administration Minotaur, the half-man, half-bull servant of King Minos. 233 S. Wacker Dr. LOCATION: Aon Center (formerly Amoco Building) Plaza through its Art-in-Architecture Program Here, father and son soar above the ocean on wings of 200 E. Randolph St. LOCATION: Federal Center Plaza wax fashioned by Daedalus. Daedalus’ engineering talents Alexander Calder’s Universe represents the big Dearborn and Adams Sts. are a metaphor for the resources that have made bang theory of creation, which holds that a colossal While the elements of Harry Bertoia’s sculpture are Chicago a world-renowned city. Conversely, Brown’s explosion brought the universe into existence. The abstract, his inspiration comes from nature. A memory Alexander Calder’s abstract “stabile” anchors the mosaic also suggests the tale of “The Fall of Icarus.” kinetic installation’s massive scale and concept are of wheat fields swaying in the breeze and the intriguing large rectangular plaza bordered by three Bauhaus- Overcome with his newly acquired powers of flight and appropriate to the grand proportions of the lobby and notion of a mythological Aeolian harp activated by the style federal buildings designed by Mies van der Rohe. refusing to heed his father’s instructions, Icarus soars the Sears Tower’s stature as one of the world’s tallest winds inspired Bertoia to create his “sounding sculpture” The sculpture’s vivid color (dubbed “Calder Red”) and too close to the sun, causing his wax wings to melt. The buildings. Discs, helices and other geometric shapes in fountains. Installed in two parts, each segment of the curvilinear form contrast dramatically with the angular victim of his own folly, Icarus falls to the ocean and vibrant hues suggest celestial bodies and cosmic artwork consists of black granite bases supporting steel and glass surroundings. However, Flamingo is drowns. Located across the street from City Hall on phenomena. The independent movements of each of brass plates, from which rise rows of flexible rods of constructed from similar materials and shares certain Chicago’s main banking corridor, Brown’s mosaic is not the five main elements of the artwork interpret the thin copper. Wind currents cause the rods to vibrate at design principles with the architecture, thereby achieving only laudatory of human ingenuity, it is a cautionary tale ceaseless motions of the ever-expanding universe. various frequencies according to their lengths, creating successful integration within the plaza. Despite its meant to warn economic and governing institutions that pleasing musical sounds. monumental proportions, the open design allows the every rise is accompanied by the danger of a fall. viewer to walk under and through the sculpture, leading NEARBY: one to perceive it in relation to human scale. NEARBY: • Amoco Building Plazas, 200 E. Randolph St. • The Loop, John Buck, 120 N. LaSalle St. lobby • Athletic Club, Illinois Center, 211 N. Stetson Ave. • Marquette & Jolliet,1674; Commerce on the Chicago Portage, 1765- • Chicago Totem, Abbott Pattison, 400 E. Randolph St. at Lake Shore 1778; French Fort at Chicago, 1795; Fort Dearborn and Kinzie House, 1803-1804; Hubbard’s Trail, 1827; Camp Douglas, 1862-1865; The Chicago Fire; Edgar S. Cameron; Chicago City Hall, 5th floor, 121 N. LaSalle St. • Du Sable’s Cabin, 1772; Edgar S. Cameron; Chicago City Hall, Mayor’s Office, 121 N. LaSalle St. • Chicago Architecture, Richard Haas, Chicago City Hall, 2nd floor, 121 N. LaSalle St. 76 pg body.qxd 4/12/05 10:54 AM Page 10

10 11 ANTHONY CARO 1987 MARC CHAGALL 1974 LUDOVICO DE LUIGI 1986 JEAN DUBUFFET 1984 Chicago Fugue The Four Seasons San Marco II Monument with Standing Beast LOOP LOOP

Hand-chipped stone and glass fragments H 14 ft. x W 10 ft. x L 70 ft. Design concept donated by the artist, funded by Art in the Center, Inc. through gifts of Mr. And Mrs. William Wood-Prince to the Prince Foundation, in memory of Mrs. Frederick Henry Prince Bronze, H 9 ft. Fiberglass, H 29 ft. LOCATION: Bank One Plaza Purchased by Financial Place Corporation Commissioned by the Illinois Capital Development Board; given by Dearborn and Monroe Sts. LOCATION: One Financial Place Plaza the Leonard J. Horwich Family Foundation in memory of Leonard 440 S. LaSalle St. J. Horwich, with additional funding by the Graham Foundation for Comprised of thousands of inlaid chips in over 250 Advanced Studies in the Fine Arts and an anonymous donor colors, Marc Chagall’s The Four Seasons portrays six The inspiration for Ludovico de Luigi’s San Marco II came LOCATION: James R. Thompson Center Plaza scenes of Chicago using a vocabulary of images informed from a set of 11th century sculptures of four horses 100 W. Randolph St. by the artist’s Russian-Jewish heritage and found in his that graces the façade of St. Mark’s Basilica on the Bronze, H 28 ft. Surrealist paintings such as birds, fish, flowers, suns and Piazza San Marco in Venice, Italy. De Luigi conveyed a Jean Dubuffet felt a special affection for Chicago, home Private collection pairs of lovers. Chagall maintained, “the seasons sense of motion by capturing the horses in mid-stride. to one of his three monumental sculpture commissions LOCATION: Lobby of building designed by Philip Johnson represent human life, both physical and spiritual, at its Deeply incised lines emphasize the animals’ musculature, in this country. Monument with Standing Beast is 190 S. LaSalle St. different ages.” The design for this mosaic was created implying great power and virility. By adding idealized comprised of four elements that suggest a standing in Chagall’s studio in France, transferred onto full-scale characteristics, the artist infers the historic association animal, a tree, a portal and an architectural form. The Chicago Fugue is one of the largest sculptures produced panels and then, installed in Chicago with the help of a of horses with strength and progress. configuration invites viewers to enter the sculpture and by Anthony Caro. Due to its immense size, the work had skilled mosaicist. Chagall continued to modify his design echoes the dramatically open plan of the James R. to be constructed on-site inside the lobby of the after its arrival in Chicago, bringing up-to-date the Nearby: Thompson Center. Dubuffet described the sculpture as a building. Bars, slabs, ovals and split cylinders are areas containing the city’s skyline (last seen by the artist • Clouds Over Lake Michigan, Ruth Duckworth, Chicago Board Options “drawing which extends…into space” and hoped it would arranged to allude to musical instruments. The horizontal 30 years before installation) and adding pieces of native Exchange, 400 S. LaSalle St. resonate with the average person on the street. framework of the lower part of the sculpture is Chicago brick. • Stone Fabric, Robert Winslow, Chicago Board Options Exchange, Monument with Standing Beast reflects Dubuffet’s reminiscent of pedals while the oval slabs resemble 400 S. LaSalle St. career-long development of his own often brutal, urban cymbals. Nearby: style utilizing street language, graffiti and caricature. • Russell Secrest Fountain, Harris Trust and Savings Bank, 111 W. Monroe St. • Inland Steel Building, 30 W. Monroe St. Nearby: • James R. Thompson Center, 100 W. Randolph St. 76 pg body.qxd 4/12/05 10:55 AM Page 24

24 25 1991 1991 HOUSTON CONWILL ARTIST JEANNE DUNNING JACOB LAWRENCE HAROLD JOSEPH DEPACE ARCHITECT Untitled (Two Heads) Events in the Life of Harold Washington AODWSIGO IRR CENTER WASHINGTONHAROLD LIBRARY AODWSIGO IRR CENTER WASHINGTONHAROLD LIBRARY ESTELLA CONWILL MAJOZO POET WASHINGTON 1991 LIBRARY CENTER Du Sable’s Journey Harold Washington Library Center State and Van Buren Sts.

Two framed Cibachrome images, H 50.5 in. x W 31 in. (each) Ceramic tile mosaic, H 10.5 ft. x W 15.25 ft. Location in library / floor Location in library / floor

Jeanne Dunning’s pair of photographs show the same Jacob Lawrence’s ceramic tile mosaic greets library female model in two different poses. In each image, hair patrons at the end of the Congress Street corridor in is the dominant feature, creating the sole identity of the the northern niche of the main lobby. This monumental model and forming an abstract object in itself. These work, by one of the most renowned African-American Terrazzo and inlaid brass, Diam. 18 ft. photographs subvert traditional portraiture, artists of the 20th century, recognizes the late Harold Location in library / floor demonstrating the power of style to define identity. Washington’s accomplishments as student, Civilian Resembling fashion advertisements rather than Conservation Corps worker, soldier, lawyer, U.S. The center of this circular “cosmogram” traces the individual portraits, the works comment on the glut and Congressman and Mayor of Chicago. These periods of his water routes traveled by Jean Baptiste Pointe Du Sable, emptiness of commercial imagery in modern culture. In life are portrayed on the pages of books spread across Chicago’s first settler, from his native Haiti through the the context of the library, viewers may be inspired to the Mayor’s desk, which collectively form a symbolic various waterways that led to the Great Lakes. The map reflect on the power of images, as well as our ability to mountain culminating in Washington’s election as the is encircled by a ring of quotations taken from Harold look past these images to attain knowledge and self- first black Mayor of Chicago. The faces of the Washington’s first and second inaugural addresses, actualization. representations of the late Mayor are left blank so that showingJourney the important link between Chicago’s first his figure becomes the symbol of every-man, climbing The City of Chicago’s Public Art Collection at the Harold settler, who was of French-African descent, and upward to success through learning, hard work and Washington Library Center was funded through the Chicago’s first African-American Mayor. Du Sable’s opportunity. city’s Percent-For-Art-Program. The collection takes the graphic form of a cakewalk, a circle consists of over 50 works of art that are situated on dance performed by slaves for slave-owners in the every floor of the building. This has been the single South, which has become a symbol not only of oppression largest public art program in the City Of Chicago’s but also of expression and survival. The intersecting lines history to date. The collection contains works in almost of demarcation, named for Dr. Martin Luther King Jr. and every artistic medium, addresses important Malcolm X, form a symbolic crossroads at Chicago that architectural spaces in the building, recognizes major places our city’s history and present challenges in the art movements associated with Chicago, memorializes broader context of the American experience. the late Mayor Harold Washington and celebrates Chicago’s rich cultural diversity. 76 pg body.qxd 4/12/05 10:55 AM Page 34

34 35 FRANZ MACHTL 1893 IVAN MESTROVIC 1928 HENRY MOORE 1980 IGNACIO PEREZ SOLANO 2000 Rosenberg Fountain The Bowman and the Spearman Man Enters the Cosmos Replica of Colossal Olmec Head #8 ERSOUTH NEAR LOOP ERSOUTH NEAR

Bronze, H 13 ft. Stone, H 7 ft. 3 in. LOCATION: Adler Planetarium and Astronomy Museum, City of Chicago Public Art Collection Entry Plaza Bronze figures, H 17 ft. (each) LOCATION: The Field Museum lawn Commissioned by the B.F. Ferguson Monument Fund Solidarity (Achsah Bond) Dr., Museum Campus 1400 S. Lake Shore Dr., Museum Campus LOCATION: Grant Park Henry Moore’s sundial is both functionally and visually Michigan Ave. at Congress Pkwy. The ancient Olmec, one of the first complex societies in appropriate to its location in front of the Adler the Americas, are remembered for their colossal head Sculptor Ivan Mestrovic intended his monumental Planetarium. A thin rod of bronze, supported by two sculptures, 17 of which have been recovered to date. intersecting bronze semicircles, marks the time of day by Bronze figure, H 11 ft. figures to commemorate the Native American and Each original head is distinctive and believed to embody casting a shadow on the ground. The semicircular City of Chicago Public Art Collection symbolize the struggle to settle this country. The figures the likeness of an individual leader. Though all of the elements,the Cosmos joined at right angles and bisected by the rod, LOCATION: Grant Park are lean and muscular, tensed for the actions of hurling a heads were carved in a stylized manner, Ignacio Perez evoke the form of a hemisphere tilted on its axis. The Michigan Ave. at 11th St. spear and releasing an arrow. Mestrovic has heightened Solano’s 1700-pound stone replica Olmec Head #8 is the forcefulness of these gestures by making the viewer sculpture’s golden patina and the subtitle, Man Enters considered the most naturalistic. The State of Veracruz, Remembering the city of his birth, Joseph Rosenberg use their imagination to supply the missing weapons. , refer to the great expansion of human Mexico donated it to the City of Chicago. (1848 – 91) left $10,000 in his will to provide Chicagoans Although they are modeled in-the-round, the equestrians knowledge of the universe that occurred during the with a decorative drinking fountain. The donor’s large and are viewed to their most monumental effect as relief “golden years of astronomy,” 1930 – 80. successful family, seeking greater opportunities in silhouettes against the sky. America, emigrated from Bavaria and settled in Chicago. The fountain, by German artist Franz Machtl, features a Nearby: classical figure of the Greek goddess Hebe, daughter of • Eagles, Frederick Cleveland Hibbard, Congress Plaza, Michigan Ave. at Zeus and Hera and cupbearer to the gods. Congress Pkwy.