Sculpture
A Real Dog For a Bronze Boy
My husband and I regularly foster animals for the Homeless Pet Placement League . Basically we take care of the dogs, make sure they are healthy and then take them to the adoption place, Petco on Shepherd on Saturdays. This little gal is Boots, and we have been fostering her for several weeks now.
When she arrived and would come into the studio, she loved to sit next to the Lucas sculpture. I thought it was strange. She would even plop right on his bronze foot. I moved all of her toys and blanket next to Lucas and would joke that Lucas has a dog.
I talked with Lucas’ mom just a few days ago and told her this story. She said that Lucas had always wanted a puppy, but she never got around to getting him one.
My husband said that when the Lucas sculpture leaves the studio to be delivered to his mom, Boots will probably get adopted.
Portrait Bust
It is always exciting to watch the process of sculpture from start to finish. Here is the final of the latest sculpture that I have sculpted.
It will be presented at the end of this month.
A Trip To The Foundry
If you have read my blog then you are familiar with this part of the bronze process. After the bronze is cast and the pieces are welded together I am asked to come to the foundry and look at the metal. Marker in hand I go over the piece and look for any blemishes or things that might need a little work, perhaps some clarification. I like to bring the clay bust with me so that I can compare the two. My apprentice came with me and we had a wonderful conversation with Miguel at the foundry. He is always a delight, and then a quick stop over at Ben Woitena’s studio to see how his work is coming along. I especially enjoyed our conversation as we compared figurative sculpting to the type of work that Ben does. Here is a link to see Ben’s work.
After these minor details are taken care of the bronze enters the patina stage and is mounted. Soon this sculpture will be home.
Jeanine’s Life Mask
Last year when I was contacted by Jeanine’s parents they sent her life mask to me. It was taken when she was about ten years old. They wanted to know if I could cast her image from the mask. I have documented this in the book, “Bringing to Life the Spirit of the Deceased- A Sculptor’s Journey.” It was strange to look into the life mask. It felt like I could look deep into Jeanine. It is also odd… when you shoot a photograph of a life mask or the inside of a mold, you never really can tell if it is something that is concave or convex.
This is a wonderful thing to have. I have included photographs of the life mask, as well as the cast.
Artist Carves History in Bronze
I have been working on creating some new pages to my web site. The newsboy gallery can be found by clicking on the Newsboy category
And I have uploaded pictures of the newsboy placed in Austin. There are no pictures of the number two in the edition, as my client has not given it to his father yet.
I have been sending out press releases about creating the newspaper to match newspapers in history. I’m hoping to sell out the edition of the newsboy, there are eight left, and creating newspapers throughout history. I really would like to see one of these in Buffalo, N.Y. and also one in Washington.
The press release follows.
Newspaper Headlines Through History are Being Carved in Bronze.
Is it not interesting to think about which newspaper headlines stand out in the history of our country? What newspaper headline would stand out in the publication of your own newspaper?
In 2005 Texas based sculptor Bridgette Mongeon was commissioned by the Texas Press Association, to capture an important time in newspaper history—the age of newsboys. You can almost hear the cries of, “Extra! Extra! Read all about it…” from the mouth of the bronze newsboy who is caught in full stride as he hawks his newspapers on the street corner. The artwork, originally created for the Texas State Capitol building, presently resides outside the offices of the Texas Press Association in Austin, Texas. A table-top bronze of the Newsboy was also created as a limited edition art for home or office.
In January of 2007, Ms. Mongeon was contacted by a client wanting to know if the life-size bronze newsboy was part of a limited edition, and if it was available for purchase as a gift for his father, a former newspaper publisher. He inquired if the newspaper that the Newsboy was selling could be recreated to resemble his father’s newspaper capturing the year they were awarded the Pulitzer Prize. The artist created a bronze Newsboy to the client’s specifications, and it became number two of this edition of ten. It will soon be presented to his father. The story of the Pulitzer Prize winning paper is intriguing, but cannot be revealed until after the surprise bronze is presented.
The idea of carving and capturing history in bronze so intrigued Ms. Mongeon that she is committing to do the same thing for the remaining editions of the bronze Newsboys and is presently seeking newspapers and placement for the remaining eight life-size bronze sculptures.
Upon request, the new masthead and headline are painstakingly carved into the front of each paper. There are several papers in the sculpture that need to be changed, there is a newspaper the Newsboy holds, several under his arm, and a stack at his feet. The back of the newspaper remains the same, a subhead line that reads, “In Memory of Skinny and Others.” This was created from a historical article that the artist read about how newsboys would take out an ad in the paper if one of their own died. It is the artist’s way of posthumously recognizing the contribution of the newsboys.
When the artist is asked if there is a specific newspaper in history or place that she would like to see one of the bronzes installed she replied, “I live in Texas but was born in Buffalo, New York. I would love to see a Newsboy placed in my hometown, and if I could pick the place, I would love to see one near the Albright Knox Art Gallery. To have one in Washington D.C. would also be great.” The Newsboy is not Mongeon’s only newspaper related art sculpture. She was also commissioned by the Houston Chronicle to create a small sculpture of Jesse Jones that is given as The Jesse Award to outstanding individuals at the Houston Chronicle.
A writer as well as a sculptor Ms. Mongeon has a heart for journalism and communication and has created an online journal of the entire eight-month process of creating the life-size bronze Newsboy and small Newsboy collectible. The journal extends from research to casting and placement of each of the pieces in the edition. She has added an educational section to help students and teachers learn and teach about art, journalism, history and even politics, all relating to the bronze Newsboy. The journal is rich in online resources for further education. The sculptor expresses a desire to be involved in the education of the children in each area that the Newsboy is placed. “The Newsboy is not only a symbol for the newspaper industry, it is a symbol of the strength of children. These newsboys and girls changed history with their newspaper strike of 1899, which affected the child labor laws. Just because you are small doesn’t mean you can’t make a difference, and this is an important concept for children to learn,” state Ms. Mongeon.
The Newsboy journal can be found at the artists’ web site located at www.creativesculpture.com. If you are interested in one of the remaining editions of the Newsboy and have a headline to match, Ms. Mongeon would love to hear from you and can be reached at her contact form. Then together the publisher and artist will carve history in bronze.
This article/press release can be used word for word. If you would like to interview the artist or require more information for a story please contact the artist.
How Much Money Did Richard Hathaway Make For Others?
Somewhere I heard a quote about how much money Dick raised in his life
time as an auctioneer. Anyone know that answer?
How Did Professor Hathaway Call to Others?
I sent this out to some that new Dick. I have been working on the chapters in the book about Dick and Sarah Hooker was kind enough to reply.
“I picture Dick sitting on the bench at Vermont College hand in the air as if he is beckoning to the person passing by or across the green. Greetings from Dick were not just average hello’s as Sarah Hooker states, “Well, it was more that he had a megaphone with his hands as if to announce whoever it was, but it was personalized—so, for example, he’d say, “Heeeer’s Miss Sunshine herself, Sarah Jo Hooker” or “I give you the goddest of the Adult Degree Program, Sarah Jo Hooker”, or it might be “Here’s Portland Maine’s most renowned druid, Susan Hammond!”–“
A Couple of Questions About Professor Hathaway
I have a couple questions about dick Hathaway.
I am writing the chapters on the sculpture of Dick Hathaway for my book “Bringing to Life the Spirit of the Deceased—a Sculptor’s Journey” and wanted to ask a few questions. Can anyone help?
Can you please give me a few suggestions of things to write instead of etc. In the following statement
While attending his exploratory meeting to discuss my study and this book project he said, “I’m not sure why you are here, we really don’t go together.” I knew his expertise in such things, as social reform, history, (etc). Did not really go with sculpting the deceased but, I was too embarrassed to tell him that I found him absolutely charming and I just wanted to spend time with him. I don’t remember what I murmured; it may have been something like… “Just trying to get to know the professors.”
Also,
I know for the school auctions Dick would find unusual items that he would purchase somehow from obscure places. Artisans from around the world. There was a man that was always at the school auctions with him, what was that mans name, they seemed to get this stuff together. Also from what areas, tribes or countries did Dick get these things?
Also,
Somewhere I heard a quote about how much money Dick raised in his life time as an auctioneer. Anyone know that answer?
Thanks in advance,
Bridgette
Updates on the progress of the sculpture are still being posted at http://dickhathaway.blogspot.com
Letter From The Campus, Looks Like Dick Will Stay
I have just received the following letter from Vermont College Union Institute. You may have remembered that we were all a bit worried what would happen to College Hall if it were sold, and then what would happen to the Dick Hathaway sculpture. It looks like the MFA is going to purchase the entire property. I assume that this secures the TW Woods Gallery and Dick on the campus. I am thrilled. He should be here.
LETTER RECEIVED FROM VERMONT COLLEGE UNION INSTITUTE
February 26, 2007
Dear faculty, staff, learners, and alumni,
I’m pleased to announce that this past Friday, February 23, 2007 I signed of a Letter of Intent to transfer the historic Vermont College campus and three MFA programs to the newly formed Vermont College of Fine Arts (VCFA). After a period of due diligence, we project that the sale will be completed by July 1, 2007. UI&U will continue to operate its undergraduate adult degree program, as well as the Master of Education and Master of Arts programs, without interruption, in leased facilities on the campus.
Included in the proposed sale to VCFA are the campus’s 11 buildings and 33.5 acres, as well as the Master of Fine Arts in Visual Arts program, the Master of Arts in Writing program, and the Master of Arts in Writing for Children and Young Adults program. The Vermont College of Fine Arts, under the leadership of MFA alumnus Tom Greene, a longtime administrator with Vermont College, and William Kaplan, an expert in real estate acquisition and conservation, is committed to a seamless transition for the three MFA programs. According to Tom, the vision of the new non-profit entity is that the “historic campus and renowned academic programs will form the foundation for a new college, one that not only plays a critical role in arts and letters in this country, but also is firmly and forever anchored in central Vermont.”
For the past months, we have made concerted efforts to appropriately staff the Montpelier-based programs in anticipation of this sale. We are pleased that academic and academic support staff associated with the programs retained by UI&U will not lose their positions because of this transfer. Academic support staff and faculty related to the MFA programs will most likely become employees of VCFA. Discussions are still in the very early stages regarding facilities, housekeeping, and security staff, but VCFA officials are quoted as saying that they are committed to operate the campus and the MFA programs without disruption.
In the proposed framework, UI&U will lease office, classroom, dormitory, and meeting space from VCFA and operate its educational offerings as one of UI&U’s five national academic centers. All current programs will continue to operate out of the Stone Science building, including the undergraduate adult degree program; the MA and new MA Online; and the MEd. The Gary Library will also continue to operate under UI&U auspices, serving all UI&U and VCFA students in a shared arrangement. UI&U’s Brattleboro Center will also continue to operate without interruption. UI&U has also recently leased offices in Brattleboro to house its new Psy.D. program which will operate pending approval of the Vermont Department of Education.
Alumni of the three MFA programs, as well as alumni of the historic programs housed on the campus (Montpelier Seminary, Vermont Junior College, etc.) will transfer under the auspices of the VCFA. All alumni who earned UI&U degrees since the 2001 acquisition, including all those who earned degrees from the programs staying with UI&U and alumni of the Adult Degree program, MEd program, and MA program will remain with UI&U.
This Letter of Intent moves us closer to our goals, stated clearly last spring, to divest all real property at its Cincinnati headquarters and Montpelier campus in order to focus resources on our core mission based on our founders’ vision to be “learner-centered” rather than “building-centered.” The decision to sell the historic Montpelier campus as well as other property is part of an institution-wide re-visioning that redirects the university’s assets away from owned real estate to focus on creating innovative programs for adults, investing in our people, enhancing learner services, and providing state-of-the-art technology.
We are proud to have been stewards of the Vermont College campus and its academic programs for the past five years, and gratified that our substantial investments in the buildings, the campus, the programs, and the people have given birth to the new and promising entity of the Vermont College of Fine Arts. We are particularly pleased that VCFA will not only continue to operate but also enhance the nationally renowned MFA programs in Writing, Visual Arts, and Writing for Children. We are also very much looking forward to continuing to operate our undergraduate and master’s programs on the campus without interruption.
UI&U remains wholly committed to learners, staff, faculty, and alumni in Vermont, providing strong and viable educational opportunities. It is our intention and the intention of VCFA that this transfer is contingent upon being a seamless transition similar to when UI&U purchased the campus and programs from Norwich University in 2001. There is no foreseen alteration of the academic experience: the learning model will continue, and even improve; faculty will be retained; and residencies will continue without interruption. While there are still details to work out, officials from both organizations are working diligently with federal, state, and local agencies.
I express my deepest appreciation to all of you for your patience throughout this past months. I know that the uncertainty about the campus and program caused rumors and unrest, but I hope you understand that these are serious negotiations and the level of detail is such that much of the information must remain protected in order to safeguard the eventual outcome. I thank you for allowing us the time to make this transition a reality. We owe it to our learners, alumni, and ourselves to continue to work every day to serve our learners and continue the legacies created by both Union and Vermont College.
I also thank officials in the city of Montpelier and the state of Vermont for their warm hospitality and support throughout the past five years. We all look forward to what promises to be a fruitful and lasting partnership on a beautiful and unique campus.
I’m sure that you will have questions in the coming weeks and months. We will do our best to answer them and to provide as much information as possible to ensure that we are serving our learners, our alumni and friends, our staff, and our faculty. We will continue to stay in touch as we know more.
Warm regards,
Roger H. Sublett, Ph.D.
President
Murmuring Of An Artist
For two years I have been writing this book “Bringing to Life the Spirit of the Deceased- A Sculptor’s Journey” I have taken a close look a the four commissions documented within the book. Now I have this posthumous commission of Mr. Hockett. It feels funny not to be documenting it. After two years of paying such close attention I feel like somehow Mr. Hocket is being excluded, not a part of the process. I am back to doing what I do in the process without much consciousness of it.
IT does not help that the commission is on a tight deadline. I have no time to ponder. I think Patsy, Lucas, Dick, and Jeanine came to me in those times between. The time spent doing something else, the place that thoughts linger. With such a quick deadline I lose the ability to linger. Does that affect the process?
Few photographs. I cringe at this process without numerous photographs. At one point I even said to myself, “perhaps I will not take any more commissions without many photographs.” My supply in this commission is limited. It not only ties my hands as a sculptor but also leaves me craving more emotionally from the subject. The photographs are what lead me to the personality and the emotion of the individual, with a limited supply the emotion is limited, which may in turn affect the sculpture.
Now that the deadline is looming, and no more photographs are available I pray. Mr Hockett, God, show me his peace. Ii think about the sculpture of Jeanine and remember that some of the photographs of Jeanine actually made me sick. When copying the eyes of one photograph I copied the pain, when another photograph was available I transferred that peace in the photograph to the sculpture. I wonder what has happened in the day the time of the photographs of Hockett? My client’s friend did not see the peace.
This is not a mystical process. My feeling of the emotions in the photograph even those emotions that may leak through is scientific and documented. I have an entire chapter on it in my book. Picking up these emotions is apparently one of my abilities. Sculpting and trying to make something beyond what is in the photograph is mystical.