Unite private networks clive iowa1/14/2024 ![]() Major contributions were provided by the Johnny Danos Better Together Fund, Community Foundation of Greater Des Moines and Teresa Van Vleet-Danos,Ĭity of Des Moines, Des Moines International Airport, Mary and John Pappajohn, Brooks-Richer Endow Iowa Fund, Charlotte and Fred Hubbell, and Trudy Hurd, In memory of David Hurd. Greater Des Moines Public Art Foundation Collection, 2021.1 Commissioned by Greater Des Moines Public Art Foundation, this landmark sculpture honors Johnny Danos (1939-2018). Written by Lea Rosson DeLong, Ph.D., art historian | curator After retirement from a distinguished career in business, Danos led the Community Foundation of Greater Des Moines to a spectacular success that continues to enliven the life of the city. ![]() Liftoff serves partly as a memorial to Johnny Danos, a bon vivant whose charm, energy, generosity, and congeniality was devoted to the enhancement of Des Moines. Even at night, the sculpture is dramatically lit so that it will glow as travelers pass in and out of the airport. Every view of the sculpture is different and distinct, tracing the sun’s progress across the sky or, at times, the clouds that drift overhead. Painted a dazzling white, Liftoff catches the light that, like air, is constantly moving and changing. It also may make us think of the propellors and turbines that spin and induce the energy to overcome gravity and take us into the open air and off to other places. At first glance, the sculpture immediately creates the effect of moving air that can carry us up and away. Aycock has referred to the sensation she has when the airplane leaves the ground and climbs toward the clouds, a feeling that is widely shared and is likely anticipated by passengers arriving to catch their flights. Her sculpture, Liftoff, is installed in the best possible place in the greater Des Moines community: at the entrance to the airport. Often made up of thin, curving slices of steel, Aycock’s sculptures evoke currents of air, especially ones that could lift us beyond the earth – in our imaginations as well as our actual bodies. Her structures are precisely engineered to embody the forces of nature and to suggest the feelings they provoke in us. Being aloft in the air is both one of the most exhilarating and the most terrifying experiences that humans can have.Īlice Aycock’s sculpture makes visible the air that sustains, delights, and frightens us and that also represents our awareness of things beyond the ground we stand on. Being surrounded only by air, being lifted off of the earth was only a dream for humanity until modern times when airplanes took us up into the skies. When air becomes wind, it can be a caress, but it can also be a force that turns the very air we breathe into a tornado. When air begins to move, a breeze can set our world into motion, with trees gently swaying or leaves scattering. In 2018, she was selected for the Metropolitan Museum of Art’s annual Cantor Roof Garden Commission.Īir is a quiet constant in our life, what we need to be alive at all. Her works are collected and exhibited internationally institutions include, The Museum of Modern Art in New York, the Centre Georges Pompidou in Paris, and the Los Angeles County Museum of Art. She considers the comparisons between found and manmade materials in her work, often using bronze for her large-scale figural sculptures.īhabha was born in Karachi, Pakistan and came to the United States to study at the Rhode Island School of Design (BA 1985) and Columbia University (MFA 1989). Her imposing, fragmented figures draw upon representations of the human form from the Paleolithic to present, generating amalgamations of time and place. Huma Bhabha is a Pakistani-American sculptor living and working in Poughkeepsie, New York. ![]() (369.4 x 129.4 x 156.4 cm, 1360.8 kg.)ĭes Moines Art Center Permanent Collections Purchased with funds from John Pappajohn in memory of Mary Pappajohn, 2023.19 The sculpture invites contemplation from various angles, reflecting the mythological Roman god Janus, the god of transitions, doors, gates, and abstract dichotomies such as life and death. Bhabha often explores such dualities in her work, drawing upon multiple perspectives from humanity’s shared history. While monumental in size, she is vulnerable. ![]() The dark patina of the bronze suggests the passage of time. The 12-foot-high bronze female figure has one arm and stands on a peg leg. Huma Bhabha’s “Even Stones Have Eyes” (2023) is the 32nd sculpture installed at the John and Mary Pappajohn Sculpture Park. Law network members have spent $3 billion creating relationships over 25 years.Latitude and Longitude for Map Center Latitude and Longitude for Map Center Law members provide $120 billion of legal services and accounting network members $60 billion of accounting services. Networks are the largest practice organizations in the world.
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