Living in Color

When we consider memorable places, we think about their icons –The arch of St. Louis, Cloud Gate (also known as “The Bean”) in Chicago, the Eiffel Tower in Paris. All of structures fall under the category of “public art” and were the work of creative individuals who captured the culture, spirit and atmosphere of the places around them.

Studies have continually shown that public art is instrumental when it comes to creating an attractive, vibrant community. Through their Soul of the Community initiative, The Knight Foundation surveyed 43,000 people across 43 cities and found that “social offerings, openness and welcome-ness,” and, significantly, the ‘aesthetics of a place – its art, parks and green spaces,’ ranked higher than education, safety and the local economy as a ‘driver of attachment.’” Another survey of Philadelphia residents found that viewing public art was the second most popular activity in the city, ranking higher than biking and hiking.

By its very nature, public art is fundamentally different from its private counterpart. Public art is not just for the wealthy or those inclined to visit museums and art galleries. Compared to prestigious gallery shows, public art, much like landscape architecture or park design, is often under appreciated. But there’s a lot to like: It’s free. There are no tickets. There is no dress code. You can view it alone or in groups, any time you want. It’s open to all.

Nan Plummer, President and CEO of LexArts, has a similar view. Each year, she and her team raise money for the arts and re-grant to many arts organizations in Central Kentucky. LexArts also serves as our city’s local arts council, providing technical assistance, subsidized office and creative space, and marketing exposure for the arts community –which includes the facilitation of public art projects.

“Our aim is ‘arts everywhere’�and while we have lots more places and people to reach, we’re excited to see the expansion in quantity, quality and diversity of the arts in Central Kentucky,” she said. “The big organizations are always trying new things, and there are more small organizations and projects every year. We’re able to do this because of terrific support from the City of Lexington and especially from everyday people who support our Fund for the Arts Campaign.”

LexArts Community Director Nathan Zamarron added, “Public art reaches everyone, in unexpected ways, in unexpected places, brightening our day and making it more interesting. Lexington has become place known nationally as a destination for horses, bourbon and increasingly for public art.” He also mentioned that in the ten years he has been with LexArts, they have seen many new arts organizations established and flourishing, an increase in requests for and appreciation of public art and innovative collaboration between artists, organizations and the city. From the Horsemania project of 2000 and 2010 to citywide mural projects, there is always something creative in the works.

So what can we expect in the future? “LexArts will be part of several major citywide initiatives including Town Branch Commons and Town Branch Park, which will be great opportunities for public art to be integrated in the landscape of downtown Lexington,” said Zamarron. “Plus, the renovation of Southland Drive sidewalks will include a temporary sculpture exhibit and commission of a permanent site-specific work that enhances Southland as Lexington’s Music Row.” Plummer added that there will soon be a permanent installation of the Unlearn Fear + Hate project (conceived by Transylvania professors and artists Kurt Gohde and Kremena Todorova) on Short Street.

Those wishing to support public arts can do so in a variety of ways. Making a contribution to the LexArts Fund for the Arts Campaign supports over 50 arts and cultural organizations in Central Kentucky. Institutions can contract with LexArts to coordinate large-scale purchase and commission of original site-specific work. And of course, buying art from local artists and galleries is always a great way to show support.

Modeled after the very successful and well-received Horsemania Bourbon Barrel Projects, The Book Bench initiative gave 37 local artists a chance to design and paint book-shaped fiberglass benches, each showcasing the work of various Kentucky authors.

A collaborative effort among LexArts, the Carnegie Center for Literacy and Learning and Arts Connect, the benches were unveiled in a reception in Gratz Park in June and are currently placed throughout Lexington. On November 17 th , the benches will be sold at an auction held at The Livery. Proceeds from this will go to further the missions of Arts Connect, LexArts and the Carnegie Center for Literacy and Learning.

Unlike past communal projects, the Book Benches bring two segments of the creative world together – literature and visual artists – in unique new ways, building community among all involved. A major goal of the project is to facilitate reading and involvement in the arts and to pay homage to Kentucky’s diverse 200-year literary tradition (the first novel by an African American, Pulitzer Prize winners and works by the first poet laureate of the United States were all Kentuckians).

Five benches were decorated by local schools, including Frederick Douglass High School, Henry Clay High School, The Lexington School, Head Start with the Community Action Council and Sayre School.

Ninety-two proposals for projects were submitted, and the chosen artists had six weeks to paint their benches, which are designed to be a functional seat. All genres of the literary world are represented –from non-fiction to poetry to graphic novels. In some cases, the author and artist are one and the same. Each bench has a QR code that can be scanned to learn more about the book, the author and the artist. More information on the project can be found at www.bookbencheslex.org.

Self-described “Proud Kentucky girl through and through” Blake Eames has been exhibiting her art in and around Kentucky for over 20 years. Her bold paintings, interior and graphic design, murals and furniture pieces can be found in homes, businesses and collections across the country. And all of her creations come to life in a light-drenched converted gas station on Old Vine Street.

When asked how this virbant career came to be, Eames said, “Like many before me, Jonathan Adler (my design hero), lead me into creating art. I’ve always had an instinctual way with color and began getting requests for color consultations in residential homes. From there (my business grew) from word of mouth.” During those early years, she says, “I learned so much about color theory, construction, project management and how the function of one’s environment could create a happier human existence in their day-to-day lives.”

When Eames first opened her business in 1997, she worked for other interior designers like Richard Kimbrel. “I learned so much from Richard about the importance of client interactions in design. It was never just about making money or creating a perfect photo spread in a magazine. It was about connecting people to their space and making it functional as well as beautiful. Designers get to know their clients in a deeply emotional way. We have to know their desires and what is and isn’t working to make the project a success.”

Over the years, Eames has applied that philosophy to her many public commissions –including the Storm Drain Project of 2010. She remembers it as one of her favorite projects to date, and also one of the most physically grueling. The 34 drains she and Claudia Michler painted were part of an Eco-Art Grant by the then Department of Environmental Quality. Eames said that what inspired them was the fact that “People didn’t know storm water runoff flowed directly into the Town Branch and our watershed.” She and Michler didn’t have a plan when they set out for each location, but rather created the concept of each drain based on its environment. For example, “The corner of Limestone and Mechanic was so full of debris, it looked like a hippo eating everything it came in contact with.” So they designed that drain to resemble the giant animal’s mouth. Eight years later, they are still getting calls to teach and share their process.

Eames’s book bench was inspired by Wendell Berry’s poem, “The Peace of Wild Things”. Her work is typically very geometric and bold, but for this design, she went out of her comfort zone. “I simply felt so connected to this poem that I had to create that design. A copy hangs at eye level in my office and when I’m feeling stressed or overwhelmed, that last line ‘I rest in the grace of the world and am free’ brings me back to center.”

other book bench artists...

Damon Farmer

Damon Farmer is a grandmaster sand sculptor out of Woodford County. In 2016, Farmer shaped 20 tons of Cincinnati glacial sand, over four days, into a Bluegrass band in Lexingtons Triangle Park. The sand sculpture stood for two weeks and included a Kentucky Wildcat as the band fiddler. This year Farmer brought his painting skills the Lexington. According to Farmer, by happy coincidence, I was reading the Sena Jeter Naslund novel when I became aware of the Book Bench Project. Already inspired by her vivid nautical descriptions, the book was a natural choice.

Maui Crane

Maui Crane is a Lexington florist, designer and painter. Crane was chosen to paint the book bench inspired by Robert Kirkman’s The Walking Dead. Kirkman is a Kentucky native and wrote “In a world ruled by the dead, we are forced to finally start living.” According to Crane, she is a huge Walking Dead fan and it was an honor to come up with a design. Crane was inspired by the black-and-white illustrations of the Artist Tony Moore.

Chris Ware

Louisville native, Chris Ware has been an illustrator at the Lexington Herald-Leader for nearly 40 years. Along with his work at the Herald-Leader, Ware has also written children’s books which includes the picture book Max Takes a Nap.

It only seemed fitting that Ware would be the one to paint the bench inspired by his own book.

murals

At nearly every turn, Lexington’s beautiful and compelling street art speaks to the many creative souls who have graced our city with their talents. From world-famous commissioned artists to anonymous contributions, these murals are one of the most unique aspects of our vibrant downtown. Through the VisitLex Mural Challenge, locals and visitors alike can earn a free poster by snapping photos of any five murals in town, e-mailing them to biglex@visitlex. com with the subject line “Mural Challenge,” and sharing them on social media using the hashtag, #ShareTheLex.

While there are several organizations that actively bring street art to Lexington, PRHBTN often comes to mind. John and Jessica Winters founded the art organization eight years ago with the goal of “bringing together a regional community of seasoned art lovers and those new to the street art genre by showcasing international, national, regional and local artists, musicians and businesses intrinsic to urban culture.” The Winters’ are responsible for facilitating a host of thought provoking (and sometimes controversial) murals to Lexington, including work by Eduardo Kobra, MTO, Pariz One, MrDHEO, ODEITH, ROA, Phlegm and many more. In addition to the commissioned works, they also hold an annual festival.

lexington murals...

BroCo Loco

BroCoLoco was created by two Lexington raised brothers Aaron and Jared Scales.The brothers say they use their art to to transform buildings and neighborhoods. In 2015, the pair created the mural of thousands of miniature baseball bats which commemorated the Lexington Legends 15th anniversary. The pair also created the mural that hangs in the produce section of Kroger on Euclid Avenue.

Christine Kuhn

Lexington artist Christine Kuhn helped bring back the history of Lexingtons all-black Dunbar High School which closed after Fayette County Public Schools were desegregated. With help from several student groups the team created 15 seperate murals of alumni or the school. The project can be seen over the old windows of the Dunbar Community Center.

Agustin Zarate

Agustin Zarate, a native of Mexico City, had lived in Lexington for 15 years. Zarate was chosen in 2017 to paint the mural on the side of the Village Idiot in Downtown Lexington. The 30 foot mural is of the well remembered racehorse Man o’ War. Zarate was also chosen to paint a book bench of C.E. Morgan's book, The Sport of Kings.

Lennon Michalski

Lexington-born Lennon Michalski creates commissioned paintings for individual collectors and organizations, as well as cohesive bodies of work that show at various galleries around the country. He says he always had an interest in art and the investigation and exploration associated with being a creator. “When I was young, my parents took me to art workshops at Artist Attic, and always motivated me to be creative and explore the arts,” he said. “My father is very creative, and I had the pleasure of watching his endeavors in music and video editing throughout my childhood.”

One of Michalski’s recent commissions, The NoLi Water Tank project, was a collaborative effort between NoLi CDC, the Bluegrass Community Foundation, Kentucky-American Water Company, and the Lexington Art League, aimed to commemorate the rich history of the North Side of Lexington.

The project was funded by a $26,000 grant provided by the Gimball Foundation. Michalski painted the mural, along with help from local artists Terry Stout and Charles Browning, who created the overall design concept. Once Michalski was brought onto the project, he adapted their idea and created a cohesive design that became what is now painted

on the water tank on York Street. “It was a really collaborative project to complete, and I couldn’t be happier with the end result,” he said.

He also created a Book Bench based on his own book, “How Penguins Saved TV”. The story provides commentary on our connection to technology, and follows a group of penguins wearing jetpacks on their quest to rediscover the turtle TVs, which were believed to be extinct.

“I was really excited when I heard about the book bench project, and I couldn’t wait to reproduce the imagery from the book on a piece of functional public art,” he said. The process of creating the bench was unique because of the irregularly shaped surface, but since he had produced the imagery previously, he just reimagined the layout on the bench’s surface. “I am really pleased with the final result, and get excited every time I pass it on Main Street outside of the Starbucks.”

Michalski certainly has a lot on his agenda at the moment. In addition to a handful of commissions for both private clients and companies, he is also working a large-scale piece for the Lewis Honors College based on the medallion design he completed earlier this year. He is looking forward to working with PRHBTN to complete another mural within the next year. He also has a show coming up in September at Gallery 2987 in Detroit, Michigan and February at the Living Arts and Science Center. “I stay busy, and always have a new and exciting projects to look forward to,” he said.

Sculptures

Throughout the city, old and new monuments offer comments on the past, present and future of Lexington. Here is just a small sampling of our diverse collection of public sculptures. A comprehensive list of art and locations is available on www.lexarts.org/participate/public-art/public-art

Castlewood Downs

In July 2017, The Lexington Art League initiated a call to artists for this public art initiative in Castlewood Park. Made possible through a partnership with LFUCG Parks and Recreations, the project created an interactive green space in one of Lexington’s most culturally and economically diverse communities. It was juried by the internationally acclaimed sculptor and Lexington native, John Henry. In addition to Henry’s work, the installation showcased works by Carl Billingsley, Isaac Duncan, Walter Early, Jim Galluci, Adam Garey, John Henry, Ray Katz, Gary Kulak, Bret Price and Bryce Robinson.

Origins

“Origins” is a series of six illuminated, abstract sculptures adorning the Oliver Lewis Way Bridge, just south of Main Street and Newtown Pike. The project was a partnership between LexArts, 2nd District Council Member Shevawn Akers and the LFUCG Corridors Commission. According to the artist, Christopher Weed, the sculptures symbolically represent the charring of oak barrels, used in the aging of bourbon.

Flying Horse of Gansu

In 2000, the Kentucky Horse Park hosted a world-renowned art exhibit entitled, “Imperial China (The Art of the Horse in Chinese History)”. As a gift to the host city of Lexington, the Chinese city of Xi’an (and Shaanxi province) presented a replica of an 1,800 year-old Han dynasty sculpture. It can be seen in a plaza across from City Hall at Main Street and North Martin Luther King Blvd. This majestic Flying Horse is the official symbol of tourism for China and has become a celebrated fixture in downtown Lexington.

notable sculptors...

Garry Bibbs

Garry Bibbs is a renowned sculptor and a UK Fine Arts Professor. His work has been shown at the Smithsonian, the Ruschman and the Art Institute of Chicago. Some of his local works include the airborne sculpture in UK’s Gatton Economics and Business building, the stainless steel sculpture of a family embrace outside UK Kentucky Clinic, and the Art In Motion piece at the transportation stop on Elm Street.

Robert Morgan

Robert Morgan began his career collecting everyday objects from the homes of gay men who were victims of AIDS, alcoholism and drug abuse. Morgan turned these objects into art that “glitters”. The Gallery Institute 193 in Lexington holds the All That Glitters collection. In conjunction with Lexington’s EcoGrant program, Morgan recycles memories and stories that haven’t been told.

Gordon Gildersleeve

Gordon Gildersleeve is a Lexington based sculptor who uses a large variety of metal. Gildersleeve holds a large body of award winning work. His sculptures and functional art, described by critics as “wildly elegant” and “full of vitality,” are exhibited nationally, installed publicly and displayed in numerous private collections, including a 2003 acquisition by Churchill Downs in Louisville, Kentucky.

Kiptoo Tarus

Perhaps best known for his large-scale wooden hand sculptures, Kenyan artist Kiptoo Tarus came to Lexington to earn his MFA at The University of Kentucky and has quickly been making a name for himself in the regional visual arts world.

He explained that his transition to the art world was very much a conscious decision. He quit his job at a bank and converted his apartment to an art studio. Initially, he used wood because “The first easily available materials were roots from trees taken down while paving the way for road construction around my neighborhood. Since then, “I have found lots of inspiration from wood and other materials.

Several of his sculptures can be seen around the Kenwick neighborhood where he lives. He crafted a set of praying hands in a neighbor’s yard using wood from a fallen tree, saying that “The process of transforming the wood represented, on a deeper level, transformations of time, place and people.” From there, he created several other sculptures around town, including “Will and Big Red (oak) on Richmond Road, “Nomad’s Palace” (steel) on the corner Versailles Road and Red Mile Road, “Angel’s Share” (cherry) in front of The Lyric Theatre, “Maker’s Mark Fusion” (cherry) at Maker’s Mark Distillery and “Yellow Hand” (maple) in front of Locals’ restaurant.

Tarus also created a book bench, which is adorned with the anonymous stick figure character of Audrey Robinson’s “Foibles,” a collection of cartoons about embracing everyday difficulties and mistakes in life, and how one person can change their circumstances. Like Taurus, Robinson was a sculptor before cancer forced her to turn to illustration, eventually creating the book that inspired Tarus before her death in 2016. He met Robinson and her husband Don on their Lexington horse farm on a job taking down one of her old art studios. “After being in awe of her sculptures there, she introduced me to a book she was working on, ‘Foibles’. A world that I truly never heard of suddenly became so profound in defining a human condition,” he said. When Tarus’ signed copy of the book was burned in a house fire, Don gave him two more copies, which is represented on the bench in a wordless comic.

In October, Taurus will show his work along with fellow sculptor Travis Ridell at Artsplace. •