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.
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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.
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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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133:(MIAD). In the belief that “dialogue and discussion beforehand will improve both the art and its impact," the Open Art Project invited three artists--
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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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182:. Kim had begun to shift her practice toward public work in 2003, completing commissions in Pusan, Korea and Stevens Point, Wisconsin.
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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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235:"Artist Profile," Madison Museum of Contemporary Art website.
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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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293:. Milwaukee Institute of Art and Design.
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1475:Miller Valley Veterans Monument
692:A Beam of Sun to Shake the Sky
164:Mitchell International Airport
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113:Hand labor is a key theme in
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810:Dr. Martin Luther King Jr.
456:Wisconsin Workers Memorial
291:"Open Art Project Q&A"
168:Milwaukee Journal Sentinel
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580:General Douglas MacArthur
526:Walkways Through the Wall
505:Letter Carriers' Monument
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1370:Goethe–Schiller Monument
1172:R. D. Whitehead Monument
734:You Rise Above the World
608:Midsummer Carnival Shaft
1493:Lynden Sculpture Garden
1247:Patrick Cudahy Memorial
678:Mahatma Gandhi Memorial
418:Public art in Milwaukee
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74:is a public artwork by
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859:All in the Air at Once
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643:Pere Jacques Marquette
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1116:Count Casimir Pulaski
587:The Spirit of Polonia
435:The Victorious Charge
125:Commissioning process
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768:Celebrating the Arts
713:Dancing Through Life
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942:Holocaust Memorial
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928:Eight Stone Lions
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727:Jacques Marquette
540:George Washington
198:Critical response
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361:43°1′51.67″N
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1847:III Columns
1777:Bench-Stone
1756:Round About
1666:(di Suvero)
1614:Orizzontale
1572:Salem No. 7
1537:Mo, Ni, Que
1405:Magic Grove
1363:Henry Bergh
519:Bronze Fonz
463:Wind Leaves
449:The Calling
376: /
102:Description
80:Jin Soo Kim
63:mixed media
39:Jin Soo Kim
1893:Categories
1791:Knife Tree
1728:The Source
1713:The Lovers
1663:The Lovers
1628:Ursa Major
1343:Watertower
1329:The Reaper
1275:Ribbons VI
1207:Space Game
1100:South Side
759:North Side
685:Peter John
211:References
190:To create
172:Blue Shirt
160:Blue Shirt
156:Blue Shirt
147:Tilted Arc
1861:Pin Oak I
1833:Epicenter
1763:Lodgepole
1742:Unfolding
1692:Ritual II
1649:Double Up
1523:Sky Fence
1377:Chrysalis
1354:West Side
1322:The Sower
1109:Menomonee
1026:Near Here
977:Milwaukee
963:Sentinels
914:Polyphony
891:East Side
671:City Yard
664:Ex Stasis
92:Wisconsin
88:Milwaukee
1819:Untitled
1784:Windfall
1678:Axeltree
1586:Ancestor
1558:Way Four
1426:Teamwork
1295:Untitled
789:On Watch
622:Laureate
426:Downtown
1735:Rainbow
1706:Olympus
1656:Upstart
1621:Embrace
1301:Quartet
1254:SOARING
1082:Connect
1033:Compass
998:Compass
984:Eclipse
852:Gear 23
824:Fishing
796:Pattern
657:Ruins X
547:Referee
50: (
1854:Flight
1716:(Daen)
1685:Orbits
1671:Poland
1282:Bridge
970:Hermes
636:Trigon
442:Family
76:Korean
35:Artist
1502:Sinai
907:Float
817:Music
629:Diana
1826:Arch
1812:Kumo
1699:Hara
1544:Trio
512:Argo
60:Type
52:2006
48:2006
45:Year
1054:Tip
782:Elk
154:’s
86:of
1895::
273:^
137:,
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410:e
403:t
396:v
54:)
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