All posts in “jaume plensa”

A Lasting Echo: Barney Ebsworth (1934–2018)

Seattle and the nation have lost a great businessman, arts patron, and collector. The Seattle Art Museum community was saddened by the news that longtime museum Trustee, Barney A. Ebsworth passed away on April 9. Barney was one of the top art collectors in the country, a supporter and advocate for great art, and a generous philanthropist.

Collecting became a way of life for Barney as he focused on great works worthy of a museum. He honed his eye for art by visiting the Louvre museum in Paris every weekend when he was stationed with the army in France during the 1950s. With works from Edward Hopper, Georgia O’Keeffe, and Marsden Hartley, to Jackson Pollock, Willem de Kooning, and Jasper Johns, Barney built one of the most significant collections of American Modernism in the world. In a 2009 article, he said:

Before I bought a picture, I wanted to know two things: do I really understand this artist, and do I know where he or she was really best in his or her career? If I don’t, I probably shouldn’t be buying. So it’s been a lifetime study.”

Fortunately for all, Barney was exceptional in his study, and from the start he was committed to sharing his remarkable collection with others. In 1996, SAM first showed paintings from the Ebsworth Collection as part of a traveling exhibition. At the time, Barney was still living in his hometown of St. Louis where he had founded numerous travel companies including INTRAV, Royal Cruise Line, and Clipper Cruise Line. In addition to businesses in real estate and venture capital, he was the angel investor in Build A Bear Workshop.

In the summer of 2000, SAM welcomed Twentieth Century American Art: The Ebsworth Collection, a major exhibition organized by the National Gallery of Art. It was the first chance for Seattle to see the collection in its entirety and before the year was out, Barney joined SAM’s Board of Trustees.

As a member of SAM’s board, Barney brought a wealth of experience. He served as a dedicated Trustee of the Smithsonian American Art Museum, the Saint Louis Art Museum, and Honolulu Museum of Art. He was also a member of the Trustees Council and Co-Chairman of the Collectors Committee at the National Gallery of Art. At SAM, Barney was as an officer; an active member of the Committee on Collections; and served as co-chair of the 75th Anniversary Acquisitions Committee. He was a generous contributor to our major campaigns, including SAM Transformation—for which the museum named its double-height gallery in his honor—and most recently the Fund for Special Exhibitions. He gifted or pledged many works of art to SAM and helped with the purchase of many others. Of course, Seattleites may know him best for his gift of the monumental sculpture Echo, Jaume Plensa’s four-story head, serenely looking out towards the Olympic Mountains from the Olympic Sculpture Park.

Barney Ebsworth had a fun sense of style, a quick wit and loved telling jokes. Nothing brought him more joy than traveling with his family, and introducing someone to a new place or introducing them to art. SAM mourns the loss of a great friend, but Seattle will continue to cherish Barney’s generosity and the art he championed that enriches our city’s culture.

Image: Bettina Hansen  / The Seattle Times
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The Park In Balance: Siting the Olympic Sculpture Park Collection

Walking through the nature and art of the Olympic Sculpture Park, from the low-lying valley around Richard Serra’s Wake to the span of open water that fills the sightlines of Jaume Plensa’s Echo, one experiences an impeccable balance of nature and whimsy. “I think the way all of the art in the park works together, in combination with the way everything is spaciously placed, is what makes the Olympic Sculpture Park truly unique. You have breathtaking views, while the art can really stand on its own and be appreciated,” said Catharina Manchanda, SAM’s Jon and Mary Shirley Curator of Modern and Contemporary Art.

But, the process of achieving this effect was far from simple. SAM’s former Director of Exhibit Design, Michael McCafferty, led the process of arranging the park’s permanent sculptures within Weiss/Manfredi’s architectural design while collaborating with artists, curators, museum staff, and other partners. McCafferty approached the placement of the art as if he were working with a “very complex gallery”—a larger, outdoor version of the exhibit spaces he designed at SAM’s downtown location and the Asian Art Museum. He worked with a to-scale model of the Park that included the varied topography of its landscape, as well as miniature, hand-painted versions of most of the 21 works that were on view when the Park opened.

McCafferty began by placing the largest pieces that would be on view, such as The Eagle by Alexander Calder, the Sculpture Park’s founding gift from trustees Jon and Mary Shirley, as well as Stinger by Tony Smith and Typewriter Eraser, Scale X by Claes Oldenburg and Coosje van Bruggen. “I would take the various models of the sculptures and move them around and around, considering the best viewing angles for someone who will walk all the way around the piece while they’re in the park and also for someone driving along Elliott Avenue,” McCafferty said. The medium and smaller sized works were then sited, through a design that balanced their weights and masses with the larger sculptures and the landscape, in a spirit he likened to a Japanese garden.

Over the past ten years, the park has grown and changed. The Aspen trees around Stinger stretch taller, the grass beneath The Eagle has thickened and new sculptures have entered the collection. One of the most recent is Jaume Plensa’s Echo, a large-scale piece depicting a tranquil visage that was donated by trustee Barney Ebsworth in 2013. Maintaining the approach established during the Park’s initial design, Echo’s placement, looking out onto the Puget Sound, was made by considering the pedestrians and cyclists who pass beneath it, as well as those who approach it from the water. The location of Echo also thrilled the artist, as Ebsworth described: “Jaume Plensa said how wonderful the placement overlooking the Olympic Mountains is because the sculpture’s subject is from Greek mythology. It’s perfect because Echo looks out towards Mount Olympus.” This siting of Echo between nature and art, between open space and calculated design, between land and sea—embodies the ethos that makes the Olympic Sculpture Park a uniquely Seattle place to experience art.

This post is the second in our series of stories exploring the history of the Olympic Sculpture Park in celebration of its 10th anniversary. Over the course of this year, we will continue reflecting on the Park’s evolution over the past decade.

—Erin Langner, Freelance Arts Writer and Former SAM Adult Public Programs Manager

 Photos: Paul Macapia
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Object of the Week: Echo

A recent addition to SAM’s collection and an huge impact on the landscape of the Seattle’s waterfront, Echo is the monumental sculpture installed at the Olympic Sculpture Park in 2014. Learn more about this visually confounding sculpture from the artist, Jaume Plensa, and Catharina Manchanda, SAM’s Jon and Mary Shirley Curator of Modern and Contemporary Art. Originally modeled on the nine-year-old daughter of the owner of a Chinese restaurant near the artist’s studio, Plensa elongated and abstracted the girl’s features with computer modeling. The sculpture references Echo, the mountain nymph of Greek mythology. Find out what it took to create and install such an intensely large-scale work.

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Meet Echo

Echo, Seattle Art Museum’s massive new addition to the Olympic Sculpture Park, is starting to take shape.

A spectacular and iconic addition to the park, the 46-foot-tall sculpture by Spanish artist Jaume Plensa, will greet visitors as they wander the shoreline.

Echo has been given to the Seattle Art Museum from the collection of Barney A. Ebsworth. It was originally commissioned by the Madison Park Association in New York and installed at Madison Square Park in 2011 to great acclaim. It is made from resin, steel, and marble dust, and altogether weighs 13,118 pounds.

Echo was modeled on the nine-year-old daughter of the owner of restaurant near the artist’s studio in Barcelona. With computer modeling, Plensa elongated and abstracted the girl’s features. The sculpture’s title references the mountain nymph of Greek mythology of the same name.

As told in Ovid’s Metamorphoses, Echo offended the goddess Hera by keeping her engaged in conversation, and preventing her from spying on one of Zeus’s amours. To punish Echo, Hera deprived the nymph of speech, except for the ability to repeat the last words of another.

Plensa offers us Echo with her eyes closed, seemingly listening or in a state of meditation. Envisioning Echo looking out over Puget Sound in the direction of Mount Olympus (a further reference to Greek mythology that is already embedded in the landscape), Plensa also intends for the sculpture to serve as a gathering point for introspection and contemplation. In our increasingly networked culture where information is endlessly copied and repeated, it is a work that invites viewers to pause.

Drop by the park and check out the progress when you have a moment. It’s easy to spot Echo. Join her near the water and spend a few quiet moments next to her thoughtful presence at the Olympic Sculpture Park.

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