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Stratiformis (sculpture)

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194:, Kim led processes related to research, fabrication, and installation. She took up residence and a studio in Milwaukee and collaborated extensively. Students from MIAD assisted with research on the local community and area businesses of the present and past. They also worked with Kim in the studio. According to Kim, the collaboration of MIAD students as an “integral part of the original process." During the weeks prior to the dedication, Kim and several students moved their studio practice out to the sculpture's site. According to Kim, “People were puzzled and fascinated that it was literally being tied together by hand." The sculpture was dedicated on May 3, 2006. 117:. The salvaged knitting machines bear traces of wear by their operators, and the artist left bits of stray yarn and thread connected to some of the machine parts to evoke a sense of warmth associated with knit goods. The steel is hand-welded to assure longevity. The galvanized and copper wires were hand-wrapped and then hand-filed. A sealant is applied by hand at regular intervals to prevent excessive rust. 28: 174:
and published his blueprint for future public art processes: 1) notify the media early, 2) create venues for citizen input on finalists, and 3) invite publics to meet with artists before plans are finalized. The Open Art Project, in positioning itself as a remedy and a new start for local public art,
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is responding to the local labor history of the Historic Third Ward. Reliable Knitting Works was a knitting company that created wool hats, gloves and hockey stockings. It was the last company to create these goods in the United States. The company and its president, Isabelle Polacheck, were
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Critics had previously praised Kim's “oddly affecting assemblages," “painstaking approach, which emulates the activity of bandaging or sewing," and her installations “dense as a tropical forest." But response by the Milwaukee art press to
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instrumental in creating the characteristics of the Historic Third Ward, as we know it today. It was once at risk of becoming a red light district. Polacheck's company donated old knitting machines for this project.
98:. The large sculpture combines disassembled knitting machines culled from a local apparel manufacturer in a grid of rusted rebar, all hand-wrapped with galvanized and copper wire. It was installed in 2006. 150:
and the regularity of public art controversy. The design of the Open Art Project's commissioning framework was also shaped in direct response to a then-recent Milwaukee public art debacle:
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The Open Art Project's commission framework emphasized participatory process and public input, features increasingly common in public art commissioning activity due to episodes like
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Following public presentations and dialogue, the Open Art Project commission was ultimately awarded to Kim, a member of the sculpture faculty at the
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has not been positive. Local art critics have derided the sculpture as a “jerry-rigged contraption," a “brown smudge," and “Stratiformless."
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Schumacher, Mary Louise. "Even if the process is right, sometimes art still fails." Milwaukee Journal Sentinel, May 9, 2006.
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Auer, James. "MIAD public-art project is seeking the public’s input." Milwaukee Journal Sentinel, July 25, 2004.
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Auer, James. "Shared input may ease acceptance of art." Milwaukee Journal Sentinel, February 26, 2003.
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The project was commissioned through the Open Art Project, an effort developed in 2004 and led by the
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Brenson, Michael. "Coming to grips with contemporary sculpture." The New York Times. June 19, 1988.
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is related to Kim's larger body of work, which references memory, cultural identity, and healing.
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Kim, Jin Soo. "Written response from Jin Soo Kim." Milwaukee Journal Sentinel, February 21, 2007.
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heeded Auer's advice and layered process with dialogue to create broader public participation.
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in 2003, was a source of civic embarrassment for local public art advocates. By early 2003,
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Brehmer, Debra. "New potential for ‘Stratiformless’." Susceptible to Images, January, 2007.
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Bamberger, Tom. "Brown smudge." Lake Effect. WUWM Milwaukee Public Radio. January 8, 2007.
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Snodgrass, Susan. "Jin Soo Kim at Zolla/Lieberman." Art in America. April, 1999. p. 150.
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Heartney, Eleanor. "An art of tender recuperation." Art in America. July, 2003.
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located in Catalano Square, which is south of downtown in the
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art writer Jim Auer summarized the “lessons learned” from
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http://www.mmoca.org/mmocacollects/artist_page.php?id=16
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Two Opposites Reaching Up Toward the Peak of Progress
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Conversations with Magic Stones (Magic Stone Three)
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Index


Jin Soo Kim
Korean
Jin Soo Kim
Historic Third Ward
Milwaukee
Wisconsin
United States
Milwaukee Institute of Art and Design
Kinji Akagawa
Luis Jiménez
Tilted Arc
Dennis Oppenheim
Mitchell International Airport
Milwaukee Journal Sentinel
School of the Art Institute of Chicago
http://www.miad.edu/content/view/470/453/
http://www.mmoca.org/mmocacollects/artist_page.php?id=16
http://www.saic.edu/people/Kim_Jin_Soo.html


"Open Art Project Q&A"
43°1′51.67″N 87°54′25.15″W / 43.0310194°N 87.9069861°W / 43.0310194; -87.9069861
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Public art in Milwaukee
Downtown
The Victorious Charge
Family

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