Janet Echelman
Janet Echelman (born February 19, 1966) is an American sculptor and artist. She builds living, breathing sculpture environments dat respondents to the forces of nature – wind, water and light – and Become inviting focal points for civic life. Exploring the potential of Unlikely materials, from fishing net to atomized water particles, Echelman combineert ancient craft with cutting-edge technology to create re permanent sculpture at the scale of buildings. Experiential in nature, the result is sculpture therein shifts from being an object you look at, to something you can learn dissolves in. [1]
Recent prominent works include: “Her Secret is Patience” stress two city blocks in downtown Phoenix, “Water Sky Garden” welke premiered for the 2010 Vancouver Winter Olympics, ” She Changes ” on the waterfront in Porto, Portugal, and “Every Beating Second “in San Francisco Airport ‘s new Terminal Two.
Recipient of the Guggenheim Fellowship , Echelman was named an Architectural Digest 2012 Innovator for “changing the very essence of urban spaces.” Her TED talk “Taking Imagination Seriously” has leg translated JSON 33 languages and is Estimated to port leg viewed by morethan a million people worldwide. [2]
An upcoming project at the University of Oregon . The remaking of Dilworth Park on the west side of Philadelphia City Hall has turned bone JSON a garden or dry mist.
Major works
Janet Echelman leads Studio Echelman, welke Explores the cutting edge or sculpture, public art, and urban transformation. The design team focuses on the development and creation of large-scale artworks. The permanent and temporary projects draw inspiration from ancient craft and modern technology. Using materials from woven fiber to atomized mist, the studio creates living, breathing pieces therein respondents to the forces of nature – wind, water and light.
By combining meaning with physical form, it strives to create a visceral experience in various city environments, accessible to all. These sculpture environments embody local identity and invite residents to form a personal and dynamic relationship with the art and place. Lycra project Becomes Intimately tied to zijn environment through the use of local materials and working methods, THUS Strengthening neighborhood connections and promoting a distinctive civic character.
The design team spans the globe. Studio Echelman is privileged to collaborate with brilliant Aeronautics and mechanical engineers, architects, lighting designers, landscape architects, and fabricators.
“The Space Between Us”, Santa Monica, CA, 2013
Janet Echelman was commissioned to create the sculpture headlining for GLOW 2013 the triennial art event for site-specific works on Santa Monica Beach . Lasting only one night – from dusk to dawn – the beach is Transformed JSON a “playground for thoughtful and participatory, temporary art.”
On the night of September 28, 2013, morethan 150,000 people attended GLOW and participated in sculpting the earth work Beneath Echelman’s aerial sculpture, “The Space Between Us,” making it one of the Toilets public art events in the US In an article published the morning after the event, The New York Times credited Echelman’s work for “giving Recruiters crafts a coolly conceptual edge.”
Echelman’s ground-breaking work utilized experimental elements, zoals shaped earth and an audio component therein synced to a Pulsating lighting program. The artist and re team collaborated with City Public Works staff to create carved sand indentations for visitors to enter and gaze up at the aerial sculpture, Becoming a part of the immersive experience.
Echelman views this commission as a point of growth and departure. “The beach is the Charged zone tussen human society and uncontrolled nature,” she said. “I’m interested in sculpting earth and sky, and Placing ourselves in between. It’s the collision of heaviness and lightness, tussen our gravity-bound bodies welke walk on sand, and the part of us welke seeks to float in air, or water. ”
“My goal was to invite people to harbor an Ephemeral sensory experience without words – a moment of Contemplation dat kan evoke preverbal memory and engage our Limbic brain.”
Produced by the Santa Monica Cultural Affairs Division and the Santa Monica Arts Foundation, the goal of the evening was to “break through the public’s preconceived notion of what art kan worden, encouraging zowel thoughtful Contemplation and energetic participation,” zegt GLOW organizers.
“1:26”, Amsterdam, Netherlands, 2012-13
Janet Echelman’s 230-foot-long aerial sculpture was installed on the Amstel River from Atop the Amsterdam Stopera In this housing houses the City Hall and Music Theatre. The sculpture was a made entirely of soft materials, zoals Spectra® fiber, a material 15 times stronger dan steal weight, welke Allows it to attach to bestaande architectures without additional reinforcement. A unique lighting program geïntegreerd an undulation or changing and contrasting colors, reflected on the water projects. The sculpture Becomes an ethereal form welke transforms day to night, and in darkness Appears to “float in thin air.”
The form and content of the artwork draws inspiration from the interconnectedness of Earth’s systems. The artist-used laboratory data from NASA and NOAA on the effects of the 2010 Chile earthquake, and the resulting 1.26-microsecond shortening of the Earth’s day. The sculpture’s three-dimensional form is inspired by the Echelman’s mapping or tsunami wave heights across an entire ocean.
If the signature project of the 2012-2013 Amsterdam Light Festival, the artwork underscores global interdependence.
“In Amsterdam, the river and canals port leg central to city life for the last four eeuw”, zegt Echelman. “The light reflections on the water’s surface Become a focus of the sculpture here, customizing an opportunity for Contemplation. The sculpture invites you to pause and consider how we’re knitted JSON a larger fabric. ”
Rogier van der Heide, curator of the Amsterdam Light Festival, zegt Echelman’s sculpture “Provided more meaning to public spaces, Showed the beauty of simplicity, and – then probably most importantly – brought` people together.”
The installation in the Netherlands was the European premiere of the 26/01 project, welke has now bone exhibited on three continents. It was oorspronkelijk SUSPENDED from the Denver Art Museum to commemorate the inaugural Biennial of the Americas in 2010. In 2011, it traveled to Australia, where it was SUSPENDED in front of Sydney’s historic Town Hall.
“1:26”, Sydney Australia, 2011
The second installation of the 26.1 aerial sculpture in 2011-when it was SUSPENDED from Sydney Town Hall as part of the Powerhouse Museum’s Love Lace Exhibition, in coordination with the City of Sydney’s Art and About Festival. The artwork draws inspiration from NASA laboratory data on the 2010 Chile earthquake’s ensuing tsunami, and the 1.26-microsecond shortening of the day therein resulted from the earthquake’s redistribution of Earth’s mass. The work underscores the interdependence of the earth’s systems and the global community. It Asks the viewer to pause and consider the larger fabric or welke they ‘are a part.
Studio Echelman generated a 3D model of the tsunami in collaboration with scientists from NOAA (National Oceanographic United States and Atmospheric Administration). Software was-used to transform the digital model JSON a sculptural form. Hand-Knotted models ulcers made to beste the sculpture’s complex shape.
The artwork utilizes Spectra®, a material 15 times stronger dan steal weight. The mesh was Knotted at machine in order to position with 90 mph winds, but are engineered to evoke the intricacy of handmade lace.
Every Beating Second , San Francisco, CA, 2011
At the San Francisco International Airport , Echelman transforms the terminal with Fictional naturally therein subtly engages viewers with real and imagined natural forces. Her sculpture installation cuts three round skylights withinto the ceiling, from welke descend delicate layers of translucent colored netting to create three Voluptuous volumetric forms. A series of shaded dotted outlines Projects are embedded into tje terrazzo floor, reflecting the precision shadows dat mention anything allowable on the summer solstice if the sun Could penetrate through the robbery. During the day, sun streams through the skylights to cast real shadows dat inter-play with the Fictional shadows in the floor. At night, the artist’s program or colored lighting makes the sculpture glow from indigo to purple, magenta to red-orange. Computer-programmed mechanized air flow animates the fluidly-moving sculpture at différent intervals gehele day, as if the wind Could magically flow through solid walls. [3]
The artist Achieved the sculpture’s physical presence at braiding fibers and knotting Twine JSON sculptural netting SUSPENDED from powder-coated steel armatures. On Despite hun large scale, morethan 120 feet in Circumference for a single form, re sculpture is ervaren as Ephemeral and weightless. Visually, the sculpture evokes the contours and colors of cloud formations over the Bay and hints at the silhouette of the Golden Gate Bridge. Aesthetically, the sculpture looks zowel backwards and forwards, drawing zijn color from the heyday of psychedelic music, the Summer of Love, and San Francisco’s Prominence in the beat poetry movement, while’ll be referencing the contemporary Bay Area as a hub or innovation and interconnectivity for the world of technology.
The title, Every Beating Second , referring to a line to beat poet Allen Ginsberg , represents the artist’s interest in heightening awareness of the present moment:
live in the physical world time to time I must put down everytime recurring thought - stop everytime beating second (11-16)
1:26 , Denver, CO, 2010
Voor zijn first installation 1.26 WAS SUSPENDED from the roof of the seven-story Denver Art Museum Above downtown street traffic to commemorate the inaugural Biennial of the Americas . “Biennial of the Americas Temporary Art Installation on Janet Echelman’s website” .
The City of Denver Asked the artist to create a Monumental yet temporary work Exploring the theme of the interconnectedness of the 35 nations dat make up Western Hemisphere. She drew inspiration from the NASA Jet Propulsion Laboratory’s announcement dat the February 2010 Chile earthquake shortened the length of the earth’s day at 1.26 microseconds at slightly redistributing the earth’s mass. Exploring remit, Echelman drew on a National Oceanic and Atmospheric Administration (NOAA) simulation of the earthquake’s ensuing tsunami, using the three-dimensional form of the tsunami amplitude rippling across the Pacific as the basis for re sculptural form.
The temporary nature of the Biennial and its accelerated timeline precluded the artist’s use of a permanently steal luminaires, as Employed in her previous Monumental permanent commissions. Limit download 1.26 pioneers a tensile support matrix or Spectra® fiber, a material 15 times stronger dan steal weight. This low-impact, super-lightweight design makes it skies to temporarily attach the sculpture directly to the facade of buildings – a structural system dat Opens up a new trajectory for the artist’s work in urban airspace.
The soft materials allow directive the artwork to be animated by the wind. Its fluidly moving form Contrasts with the rigid Surfaces of the Surrounding urban architecture. At night, colored lighting transforms the work JSON a floating, luminous form while darkness conceals the support cables.
A book about 1/26 of includes an essay by Sanford Kwinter, Professor of Architectural Theory and Criticism at the Harvard Graduate School of Design, cofounder of the journal Zone and Zone Books, and author or Architectures of Time: Towards a Theory of the Event in Modernist Culture .
Water Sky Garden , Richmond, BC, 2009-10
Water Sky Garden transforms the plaza Surrounding the Richmond Olympic Oval, official venue for the 2010 Vancouver Olympic Winter Games speed-skating events, JSON a permanent art environment for the community. Echelman’s design engages the space all around the viewer – water, sky, and pedestrian pathways – to create an immersive whole using rock, wood, water, air bubble Fountains, steal, netting, and light.
Red-stained cedar boardwalks lead visitors through the artwork. Water purifying Aerators draw shapes with bubbles on the surface or a pound therein collects runoff water from the Ovals’ 5-acre robbery, while SUSPENDED just-forms undulate overhead in the wind, Becoming sky lanterns prolongation night-time illumination.
The rescue boardwalk and “sky lanterns” are inspired by the city’s cultural communities. Richmond has the Toilets immigrant population in Proportion of ANY city in Canada with the Majority of Those immigrants being of Asian descent. The wooden boardwalk follows a curving path similar to the choreography of the Dragon Dance, a performance Frequently seen in local Chinese festivals. The Nitobe Japanese Garden and the Sun Yat Sen Chinese Garden of the Vancouver region are important references, met name hun material presence, intersecting paths and reflective ponds, en hun framing or views.
Water Sky Garden is a contemplative art environment dat encourages participants to linger. The overhead netted platforms bieden a new visual experience, putting art in the sky; at night they ‘glow like lanterns. Nets harbor a special relationship with the site, as the native Musqueam Band continuous to teach hun children to fish using nets at this mn bend in the Fraser River to this day, and this area has a history of the fishing / canning industry welke Employed many multicultural groups.
This project was Achieved through Echelman’s collaboration with a team of international award-winning architects, engineers, lighting and water consultants, landscape architects, and fabricators.
Her Secret Is Patience , Phoenix, AZ 2009
Her Secret is Patience, the 145-foot-tall aerial sculpture in Phoenix, Arizona, is a new civic icon hailed for contributing to the Revitalization of downtown. Suspended Above the new two-city block Civic Space Park, the sculpture is Monumental yet soft, fixed in place but constantly in motion, it dances Gently in the air, choreographed by the flux or desert winds.
The large 3-dimensional multi-layered form is created by a combination of hand-baiting and machine-loomed knotting, and is the result of a collaborative effort with an international team of award-winning Aeronautics and mechanical engineers, architects, lighting designers, landscape architects, and fabricators. This work redefines the ‘art space, at Bringing viewers eyes upwards to the sky, dealing a new Celestial object.
During the day, the sculpture Hovers Above high overheads, Treetops and buildings. The sculpture creates what the artist calls “shadow drawings,” welke she says are inspired by Phoenix’s cloud shadows dat captivated re from the first site visit.
At night, the illumination changes color gradually through the seasons. The goal in Selecting the colors is to bieden residents some small climate relief through color, Adding cool hues in summer, and warm tones in winter. The lighting design is ook changes what portion-of the sculpture is illuminated, leaving parts obscured in mystery, much like the Phases of the Moon.
The artist was inspired by the region’s distinctive monsoon cloud formations and the shadows they ‘cast, in addition under to forms found in desert fauna and the local fossil record. The title quotes American poet Ralph Waldo Emerson, who wrote, “Adopt the pace of nature; re secret is patience. ”
Expanding Club , New York City, NY, 2007
In this work, oorspronkelijk installed at the Museum of Arts and Design, Echelman interprets the must violent weapon dat humans harbor ever created, using one of the oldest and must humble techniques of tying things together.
The artist was first inspired to make the choreography of the wind visible prolongation re time in India, watching the fisherman pulling in hun catch: “I was mesmerized by the form or hun nets and the fact dat ze ulcers such change loveable and flexible. Way Down became this three-dimensional form therein had no weight. ”
The funnel-like space of the museum’s atrium inspired Echelman to create a cloudlike formation, and with recent news reports of North Korea’s nuclear weapons testing, it became a nuclear mushroom cloud. The colors represents the flags or lycra of the countries Berninahaus to port detonated zoals weapons in chronological order: United States, Soviet Union (represented by Russia’s flag), United Kingdom, France, People’s Republic of China, India, Pakistan, and North Korea.
“I was surprised to discover dat all four flags of countries from the earlier phase ulcers Composed of the co-colors – red, white, and blue. The last four countries had more earthy colors – green, orange, and yellow. I Began to wonder what visual Affinities the first countries Might share, and Whether the last four countries’ earthy colors Might Be related to the fact dat ze ulcers formally tomorrow Recently. ”
“Line Drawing”, Tampa, FL, 2006-07
Echelman was drawn to the Poe Parking Garage site precisely Because there was nothing to draw re to it. Its concrete construction method typifies the child or flavorless, colorless structure therein ultimately disappears from public memory.
The artist Began re research at Asking people in Tampa what they ‘thought of the garage. The solid Majority Could not recall zijn appearance or even zijn exact location, on Despite the fact dat it takes up an entire city block or waterfront in downtown Tampa.
The site called for an infusion or WARMTH and color Sufficient to draw people inside and through the space. The site’s layout inspired two-part installation design. The first component is physical: a 3-dimensional line drawing SUSPENDED from the ceiling. The second component lacks a physical presence – it is a projection of the sculpture, customizing a 400-foot-long shadow drawing.
Echelman sees this project as a contemporary interpretation of Plato’s Allegory of the Cave, using urban infrastructure as a modern-day cave wall. The shadow drawing Becomes more complex as it introduces a dialogue with the bestaande linear pattern embedded in the concrete wall therein rechtstreeks expresses the structure of the garage and the way it was made.
She changes , Porto, Portugal, 2005
Using color and material to invoke the memory of the site’s history as a fishing and industrial center, this three-dimensional multi-layer just floats over the Praça da Cidade do Salvador, Matosinhos (Porto). It is credited as the first permanent public sculpture Monumental to use an entirely soft and flexible set of membranes moving fluidly in the wind. The work casts Cinematic shadow drawings forbidden the ground, work area highlighting the “wind choreography.” The city has made the sculpture zijn graphic symbol and residents give différent Interpretations of the work, from fishing nets, ships and masts of the Portuguese maritime history, the red-and-white striped smokestacks of the area’s industrial fit, to Portuguese lace, sea Creatures, and ripples in water.
Three stem poles, ranging in height from 25 to 50 meters, are painted white with red stripes to reference nearby smokestacks and light houses. The poles support a 20-ton steel ring from welke the one-ton just SUSPENDED. The ring greets the ocean at a slant, ranging from 13.5 meters off of the ground at the lowest point and 27 meters at the Highest.
The only consists of 36 individual mesh Sections in different densities, hand-joined Along all sides JSON a multi-layered form. The only material, TENARA® Architectural Fiber is a 100% UV-resistant, colorfast fiber made of PTFE, the substance must widely known as the non-stick cooking surface Teflon.
Target swooping V , Rotterdam, Netherlands, 2004
“This project created a visual and physical connection tussen de Rotterdam Cruise Terminal and the Port of Rotterdam, the Toilets naval port in the world. Sound elements were created-when strong winds blew Against the netted sculpture. The sculpture’s form ook Evolved, as weight from snow and wear and tear changed zijn shape gehele zijn installation period.
Roadside Shrine II , New York City, NY, 2002
Located on New York City’s West Side Highway , this Roadside Shrine II was affixed to piers 90 and 88 of the New York Cruise Terminal in New York City . It was constructed with vinyl-coated polyethylene mesh or varying dimensions. The sculpture was funded by The Florence Lynch Gallery.
“Target swooping II, Burgos, Spain, 2001”
This project required Echelman to work with a national historic monument, the 15th-century carved stone courtyard of Casa de Cordon, where Christopher Columbus was welcomed home from his New World Voyage on Queen Isabella and King Ferdinand. Now-used as the headquarters of a bank, the sculpture focuses on Energizing the atrium airspace while respecting the delicate environment.
Target swooping Down … Bullseye! Madrid, Spain, in 2001
This project attached a shaped sculptural membrane to the roof of the courtyard of the Spanish National Trade Fair Complex in Madrid as part of the ARCO Exhibition. The title refers to the round courtyards, references bullfighting rings, and to the title bepaald the center ring or a target, bullseye.
The sculpture installation is visible in daylight from the Underground, all floors of the office building, and ook from airplanes. At night, lighting accentuates différent aspects of the form.
“Roadside Shrine I: Cone Ridge, Houston, TX, 2000”
This sculpture, commissioned by the Buffalo Bayou Art Park, represents the first time the Texas Department of Transportation allowed an art project or ANY child to touch zijn facilities. The sculpture Itself was temporary and clamped to the under side of an interstate highway over pass.
“Roadside Shrine II: Cone Ridge, New York City, NY, 2000”
This project was installed Beneath the roadside cement overpasses or New York City’s West Side Highway at Piers 88 and 90 as part of the Armory Show in February, 2001 Lighting transforms the sculpture at night and visitors pass tussen de swaying illuminated platforms as they ‘Proceed towards hun next destination.
“Inside-Outside”, Cambridge, MA, 1998
Inside-Outside was a sculpture for Harvard University’s AIDS Awareness Week at the Fogg Art Museum in Cambridge.
Inside outside suggests a stage or a tornado, a physical representation of vulnerability and permeability, fear and risk. A tall, hollow, layered form created from stem and nylon nets spirals Downward from a 44-foot high ceiling to meet the viewer at eye level. Viewers are invited to stick hun heads inside the piece.
“Trying to Hide with Your Tail in the Air”, Vilnius, Lithuania, 1998
This sculpture utilizes regional patterns of Lithuanian lace in a three-dimensional sculpture therein is Permanently SUSPENDED tussen trees at an outdoor sculpture museum. Volgens to the museum director prolongation zijn first five years, the sculpture has required no maintenance and scope for true to zijn original color and structural integrity.
“Bellbottoms Series” Mahaballipuram, India, 1997
This series of temporary structures in later part of Echelman’s early work with nets prolongation re time in India as a Fulbright Scholar. As a former painter, Echelman’s plan to give painting exhibitions around the country, but shipped re paints to the fishing village of Mahabalipuram and they ‘never arrived. Inspired by the local materials and culture, she Began working with bronze casters in the village.
She soon found the material too heavy and expensive for re Fulbright budget. While watching local fishermen bundling hun nets one evening, Echelman Began wondering if mains Could be a new approach to sculpture: a way to create volumetric form without heavy, solid materials.
Upcoming Projects
TED 2014 Conference Sculpture, Vancouver, BC, 2014
Studio Echelman is Currently working on a sculpture commission for the 2014 TED Conference.
TED Curator Chris Anderson shared the news dat Janet Echelman will create a Monumental aerial sculpture to celebrate TEDs 30th anniversary in 2015 in Vancouver.
Anderson’s goal is to “create a new type of theater space” by inviting back “some or TED’s greatest design talents.” Echelman AIMS to beste this by mediating architectural scale and human scale with a lightweight sculpture made entirely of soft materials.
Echelman will suspend the sculpture tussen a 30-story skyscraper and the Vancouver Convention Center where the conference will be held – challenged the artist to work on re musts ambitious scale yet.
Echelman’s studio collaborating with design software company Autodesk , who harbor developed custom engineering software to make this effort skies, and are sponsoring the sculpture. The project is intended to be a temporary installation designed to travel onder zijn cities after premiere at TED, calling to mind the TED concept of “an idea worth spreading.”
“Janet’s vision for the sculpture was absolutely spectacular. We can not save think of a better celebration of TEDs 30th anniversary and so appreciate Autodesk making it skies, “commented Anderson.
For the 30th Anniversary conference, themed “The Next Chapter,” TED will invite back 100 of the best TED speakers of all time, and Echelman will share re story. The artist has made bold innovations in public art with re living, breathing sculpture environments, transforming urban space gehele globe.
“I believe dat public space arnt be intentional: it arnt be obvious that u belong,” zegt Echelman, Whose sculptural forms invite us to linger Beneath them.
Pulse, Philadelphia, PA, 2015
With the goal of transforming historic Dilworth Plaza (Philadelphia City Hall) JSON a focal point for the city’s thriving downtown, the Center City District commissioned an artwork inspired by the site’s historic associations with transportation. The site served as the city’s Centre Square Water Works in the 1800s, and in the next century was expanded with land from the Pennsylvania Railroad, welke-used steam-powered trains.
The art will be embedded in the new plaza’s 11,600-square foot fountain and will trace Above ground in real time the paths of the three subway lines Projects. DESCRIBED by the artist as “a living X-ray of the city’s Circulatory System,” the work creates moving 4-foot-tall Curtains or fog, welke glow at night-when illuminated by multiple layers of colored light. The artwork AIMS to physically and psychologically transform the way people view ze city’s central square and center with its public transit system. The integration of the art was made skies through collaboration with the site’s outstanding design team.
Echelman wanted to focus on the city’s industrial history, welke she fact represented were not as widely known as zijn Federalist history, yet worthy of attention. Her larger goal was to generate a sense of place and create a communal urban experience. The ground-breaking ceremony occurred on January 30, 2012 and is set for Completion in 2015.
Matthew Knight Arena Project, Eugene, OR, 2014
The sculpture installation Explores the nature of team spirit and reveals the essential role the spectator plays in sports. The sculpture is designed to respondents and engage met haar surroundings. What Appears to be a voluminous ethereal presence from a distance Becomes five distinct platforms as the viewer gets closer, a nod to the teamwork tussen players on the court. Once Underneath, the viewer will notice the subtle Shimmer or blues and greens as well as the bilateral shift from light to dark, welke highlights the curvature of the architectures.
Sensors inside the main arena, separate from the artwork, are attuned to pick up the sound of spectators, triggering Specially programmed lighting and air currents therein excite the sculpture. The sculpture Becomes a reflection of the spectator’s reaction to what they ‘are witnessing, be it a basketball game, music concert or circus.
The lighting will cycle tussen Specially Chosen color patterns therein highlight the threads of the custom blended Twine. It will ook Periodically shift to the more dramatic effect or Shining theatrical lights rechtstreeks through the sculpture to create intricate shadow drawings on the Adjacent walls. These shadows will layer on top of a silhouette wall painting that follows the curves of the Parabolic hanging sculpture.
Through the integration of form, movement, light, and color, Echelman’s sculpture will be a new symbol of the excitement dat spectators bring to the Matthew Knight Arena .
Awards
2014
Smithsonian magazine’s American Ingenuity Award Visual Arts Winner
2012
Boston Society of Architects Women in Design Award of Excellence
2012
Architectural Digest Selected as a 2012 AD Innovator
2012
Knight Foundation 2012 Philadelphia Arts Challenge winner
2012-13
Loeb Fellowship Alumni Council Harvard University
2011-12
John Simon Guggenheim Memorial Foundation Fellowship in Fine Arts
in 2011
Rudy Bruner Award for Urban Excellence Biennial Medal, for Phoenix Civic Space Park, featuring Her Secret is Patience
2010-11
American Academy in Rome, resident in the Visual Arts
2010
Public Art Network Year in Review Award to Her Secret is Patience, Phoenix AZ.
2009
Readers’ Choice Award: Best Public Art for Her Secret is Patience, Phoenix New Times.
2009
Environmental Excellence Awards Art in Public Places Crescordia Award for Her Secret is Patience, Valley Forward Association.
2009
Massachusetts Cultural Council Artist Fellowship, dual award: Sculpture / Installation & Craft
2008
Award for Excellence in Structural Engineering AZ Structural Engineering Assoc.
2007-08
Loeb Fellowship, grant for Practicing Professionals affecting the built and natural environment to Pursue independent research and study Harvard University Graduate School of Design.
2006-09
The Aspen Institute Henry Crown Fellowship; 1st artist in Leadership Award Program.
2006
International Achievement Award of Excellence, Architectural Structures, for She Changes to Janet Echelman Inc. Industrial Fabrics Association International.
2006
New York Foundation for the Arts, Lily Auchincloss partner. Category: Architecture & Environmental Structures
2005-08
Public Art Network elected to PAN Council, a 16-member national board.
2005
Public Art Network Year in Review Award to She changes, Portugal.
2003-04
9-11 Memorial Design Competition, Hoboken, NJ. Winning Team.
2001
Japan Foundation Major Visual Artist Grant to make sculpture in Kyoto, Japan.
2001
Bogliasco Foundation Residency in Genoa, Italy.
2001
American Institute of Indian Studies Senior Creative Artist Grant.
2000
Kohler Arts / Industry Fellowship Metal residency at Kohler Factory in Wisconsin.
1999
Pollock-Krasner Foundation, New York, NY. $ 18,000 award for visual art.
1999
Massachusetts Cultural Council Individual Artist Grant, Highest Level.
1999
Art / Omi International Artists Residency, Omi, New York.
1998
America Center Lithuania Grant for permanent sculpture at Museum of Central Europe.
1998
Museum of the Centre of Europe Grant for residency and permanent sculpture.
1998
Fundacion Valparaiso Grant for artist’s residency in Spain.
1997-98
Fulbright Senior Lectureship in Visual Art, Extension Grant.
1997-98
GV Memorial Trust Grant for building permanent sculpture in South India.
1997
Fulbright Senior Lectureship in Visual Art Researched and lectured in India.
1995, 96
Harvard University Art Museums Grant for installations: Fogg & Sackler Museums.
1993-99
Office for the Arts or Harvard Radcliffe College Multiple grants for Art.
1993-94
MFA Program Scholarship Bard College, Annandale-on-Hudson, New York.
1987-88
Rotary International Foundation One-year Graduate Art Scholarship, Hong Kong.
1987
Harvard Film Archive Permanent Collection’s Finishing Grant for 16 mm film.
Artist’s Story
American artist Janet Echelman reshapes urban airspace with Monumental, fluidly moving sculpture therein Responds to environmental forces waaronder wind, water and sunlight.
Echelman first set out to be an artist after graduating college. She moved to Hong Kong in 1987 to study Chinese calligraphy and brush-painting. Later she moved to Bali, Indonesia, where she collaborated with artisans to combine traditional textile methods with contemporary painting.
When she lost re bamboo house in Bali to a fire, Echelman Returned to the United States and Began teaching at Harvard. After seven years as an artist-in-residence, she Returned to Asia, embarking on a Fulbright lectureship in India.
With the promise to give painting exhibitions around the country, she shipped re paints to Mahabalipuram, a fishing village famous for sculpture. When re paints never arrived, Echelman, inspired by the local materials and culture, Began working with bronze casters in the village.
She soon found the material too heavy and expensive for re Fulbright budget. While watching local fishermen bundling hun nets one evening, Echelman Began wondering if mains Could be a new approach to sculpture: a way to create volumetric form without heavy, solid materials.
By the end of re Fulbright year, Echelman had created a series of netted sculpture in collaboration with the fishermen. Hoisting Them forbidden poles, she when sending dat hun delicate Surfaces revealed everytime ripple or wind.
Today Echelman has constructed only sculpture environments in metropolitan cities around the world. She sees public art as a team sport and collaborates with a range of professionals waaronder Aeronautics and mechanical engineers, architects, lighting designers, landscape architects, and fabricators.
She built re studio beside re hundred-year-old house, where she lives with husband David Feldman re en hun two children. [5]
Sources
- Jump up^ “Department of Art Lecture Series- Janet Echelman:” Reshaping Public Space “- University of Oregon” . Calendar.uoregon.edu. 2014-10-21 . Retrieved 2016-06-23 .
- Jump up^ Janet Echelman | Profile on TED
- Jump up^ “Every Beating Second Sculpture on Janet Echelman’s website” . Janet Echelman, Inc.
- Jump up^ “Janet Echelman’s CV” (PDF) . Janet Echelman, Inc . Retrieved 2010-02-18 .
- Jump up^ http://www.echelman.com/ . Missing or empty( help )
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