Ravinia 2024 Issue 5

M A R T I N T H E AT R E P AV I L I O N M A R T I N T H E A T R E JOHN D. HARZA BUILDING 19 VERTICAL MIGRATION SERIES #9 | Dennis Kowal This flame cut steel sculpture conveys rhythm and motion. Similar to his other piece at Ravinia, the rusted surface intentionally emphasizes the relationship between art and the environment. 20 STANDINGWOMAN | Fernando Botero Botero began his sculpting career by copying and distorting old masters, manipulating space and perspective. Today his signature style is exemplified in this exaggerated woman standing more than 11 feet tall and weighing more than 2000 pounds. 21 TWO SEATED FIGURES I | Lynn Chadwick Trained as an architect, Chadwick’s works are geometric. He has created entire bodies by simply using the basic triangle. 22 GENESIS | Abbott Pattison The artist describes this work in bronze with a black weathered patina as a globular organic shape that is a “figure of mystery” even to himself. 23 SCULPTURAL IMPROVISATION I | Richard Hunt Just as music can be improvised, Hunt visually depicts improvisation in sculpture by demonstrating how organization evolves out of chaos. 24 DAVID AND YONATAN | Boaz Vaadia Israeli-American sculptor Vaadia, stacks graduated rock sheets then chips away at unwanted pieces transforming stone into serene figures. The pieces are held together by gravitational force. 25 ELLIPSE COLUMN | Jesus Bautista Moroles These huge granite slabs provoke discussion of how man exists in nature, with half of its surface untouched and raw, and the rest smoothed and polished, showing harmonious coexistence. 26 J. S. BACH VARIATIONS | Tony Rosenthal To some this looks like a ladder, while others are convinced that the waves are the notes of a musical scale. Like Bach’s music, this sculpture is much more complicated than it initially appears. 27 MUSIC FOR AWHILE | Richard Hunt Hunt inaugurated Ravinia’s sculpture exhibit by gifting these pieces in 1976; at the same time, he became a trustee. The artist’s monumental work often represents social and political beliefs. Today, he is one of America’s foremost living sculptors. 33 34 V S T S D E J M 28 ANN ARBOR | John Henry The bright yellow paint gives this aluminum work a light, reflective quality. It depicts Henry’s passion for the construction industry and appears to be defying gravity. 29 AMERIKANISHES TOR | Udo Lordes This vertical abstract stainless steel sculpture embodies Lordes’s view of a door, no matter whether it is open or closed. 30 SILENT MUSIC | Jaume Plensa As a young boy, Plensa climbed under his father’s piano to listen while he played. With this inspiration, Plensa used musical notes and staffs to form a crouching figure that one can enter, allowing viewers to be surrounded by music. 31 BEYOND THE FRAME | Richard Hunt When the Freehling Room first opened, Hunt created this unique wall mounted piece so as not to interfere with diners. His sculpture extends beyond the frame rather than rising from a base. 32 TWO COCKER SPANIELS | Kenneth H. Kraft These life-sized spaniels once topped a water fountain at Ravinia. They demonstrate the fact that art can be beautiful and practical at the same time. 33 THE HARPIST | John Henry Waddell The human form is constantly changing andWadell is known for delicately capturing this balance while incorporating a variety of shapes within one figure. 34 THE FLAUTIST | John Henry Waddell Like the Harpist, Waddell creates a realistic figure which is described by musicians as perfection in terms of posture and style. 35 KOHL KAPLAN FOUNTAIN | WET Inc. Concert goers are greeted by this choreographed “chorus” of water, music and underwater lighting that is digitally controlled to be ever changing. 36 CONCERTO | Gidon Graetz How do you catch the wind, or the feel of a bird’s vibrating wings as it passes? Graetz attempts to capture these feelings with this hyper polished bronze sculpture. It was commissioned for the Ravinia Steans Music Institute. 6 7 5 35 13 14 12 11 10 16 15 4 2 1 3 36 8 9 V S T S D E J M V S T S D E J M A S B T T T C SCULPTURE IN THE PARK A R T I N T H E AT R E I I I E J . IL I V I I I I i l is t st l s l t r s r t ti . i il r t is t r i t i i , t r st s rf i t ti ll si s t r l ti s i t rt t ir t. S I r t r t r is s l ti r r i ist rti l st rs, i l ti s rs ti . is si t r st l is li i t is r t st i r t f t t ll i i r t s. T I I wick r i s r itect, Chadwi ’s r s r tri . s r t entire bodies by simply using the basic triangle. G I tt tti rtist s ri s t is r i r it l t r ti s l l r r i s t t is r f st r t i s lf. SCULPTURAL IMPROVISATION I | Richard Hunt J st s si i r is , t is ll i ts i r is ti i sculpture by demonstrating how organization evolves out of chaos. 24 D I i Isr li- ri s l t r i , st s r t r s ts t i s t t i s tr sf r i st i t s r r s. i s r l t t r r it ti l f r . E I J ti t r l s r it sl s r is ssi f ists i t r , it lf f its s rf t r , t r st s t lis , s i r i s ist . J. . I I t l s t is l s li l r, while others r i t t t s r t t s f si l s l . Li ’s si , t is s l t r is r li t t it i iti ll rs. M I I i r t t i r t i i ’s s l t r i it ifti t s i s i ; at the same time, he became tr st . rtist’s t l r ft r r s ts s i l liti l li fs. , is f ri ’s f r st living sculptors. V S T S D E J M A J r ri t ll i t i s t is l i r li t, r ti lit . It i ts r ’s ssi f r t str ti i str rs t f i r it . A I I r is rti l str t st i l ss st l s l t r i s L r s’s i f r, no matter whether it is open or closed. 30 SI I J l As a young boy, Plensa climbed under his father’s piano to listen while he played. With this inspiration, Plensa used musical notes and staffs t f r r i r t t t r, ll i i rs t s rr si . B i r t t r li rst , t r t t is i ll t i s s t t i t rf r it i rs. is s l t r t s t fr r t r t risi fr s . 32 TWO COCKER SPANIELS | Kenneth H. Kr ft These lif -si s i ls t t r f t i t i i . str t t f t t t rt can tif l r ti l t t s ti . T I J r ll f r is st tl i ll is f r li t l t ri t is l il i r r ti ri t f s s it i r . THE FLAUTIST | John Henry Waddell Li t r ist, ll r t s r listi r i is s ri si i s s rf ti i t r s f st r st l . K I I . rt rs r r t t is r r r s f t r, si r t r li ti t t is i it ll tr ll t r i . CONCERTO | Gidon Graetz t t i , r t f l of a ir ’s i r ti i s s it ss s Graetz attempts to capture these feelings with this hyper polished bronze sculpture. It was commissioned for the Ravinia Steans M si I stit t . 6 10 16 V S T S D E J M V S T S D E J M A S B T T T C RAVINIA.ORG  • RAVINIAMAGAZINE 21