Alphabetical by artistSculpture Collection Maps
Artist: Eric Goulder
Map abbreviation: (A)
Location: South entrance to Visual Arts Center, Building D
Dedication: October 2006
Dimensions: 13” x 31” x 48”
Acquisition: A gift of Earl and Camilla McGrath
This dark bronze male figure is lying with the face pointed towards the ground. The muscular shoulders, neck, arms and hands express his struggle to rise. Below the torso of the body the legs seem to be buried in the earth. Goulder’s sculptures have been described as reflections of contemporary society and its contradictions—examining the human spirit's struggle for identity. Full of movement, his life-size nude figures are often seen as simultaneously beautiful, disturbing, sensual and dramatic.
Eric Goulder ( 1964–) was born in Cleveland, Ohio, and attended Amherst College as well as the New York Academy of Art. He has had solo shows at the Forum Gallery in New York, and has participated in numerous group exhibitions throughout the country. Additionally, Goulder's work has been featured in Sculpture Review and The Washington Post.
Artist: Dale Hallberg
Title: Untitled (seven sculptures), dates unknown
Map abbreviation: (U-DH)
Location: Small sculpture garden in Visual Arts Center, between Bulidings B and C
Acquisition: Donated by the artist
Dale Hallberg worked in bronze. His sculptures have an organic quality and some are like hybrid creatures rising from the depths of the sea. The surface character of the sculptures is mottled rather than finished and shiny–a grey-brown patina has settled on their surface. He makes a facial reference in a sculpture with what appears to be a grouping of upright spears perhaps speaking to some warrior aspect of humanity. Other sculptures include round forms reminiscent of planets but these forms are broken open, damaged as if bombarded by a meteor storm. A consistent quality in the works is that they are rising or trying to rise. One plant/ spider-like form seems to bloom upward where the aartist has caught it before it leaps into a dance.
Fullerton artist Dale Hallberg (1927–2004) taught at Troy High School located just blocks away from campus for nearly twenty years. During this time, both he and his wife Millie were actively involved with the university, particularly as members in the Cal State Fullerton Art Alliance. Their donations to the university have left a significant impact on the campus: the Millie and Dale Hallberg Scholarship Fund for talented Cal State Fullerton art students who share Dale’s passion for sculpture; the black box Hallberg Theatre in the Clayes Performing Arts Center and, of course, the tranquil sculpture garden in the Visual Arts Center where one can sit quietly and contemplate a truly unique collection of bronze sculptures.
Title: Redoubling Wallpath
Map abbreviation: (RW)
Location: North of the Visual Arts Center
Dedication: December 1976
Materials: soil cement (adobe)
Dimensions: originally up to 72" x 840"
Acquisition: This project was a joint venture between the National Endowment for the Arts through a grant for Art in Public Places and the CSUF Art Department. Hamrol was a visiting artist for the Fall 1976 semester and students assisted with the installation.
Nearly 1000 burlap bags were filled with earth and cement to construct the original uneven wall of seven triangular shapes. Again the forms were geometric and the shapes and the public context of this work suggested monumental geometric architecture such as the pyramids. However in contrast to those monuments to the past this environmental sculpture was meant to be a place where people could sit, lean, climb or rest—a place that would be personally nourishing, protecting, and reinforcing. Because of these interactions with people and time the burlap bags have long since disappeared. Here the deterioration of time has sped up as the adobe structure continues to wear away more each year so that today the piece stands like other monuments of the past that have been swallowed by jungles or worn away in deserts by wind and sun.
Lloyd Hamrol (1937– ) earned his Masters degree from UCLA. He has concentrated on installations and site-specific works using non-art objects such as dry ice, adobe bricks, logs, stones, and sandbags. His work has been shown in major museums throughout the United States and he has completed a number of major outdoor site-specific sculptures including a river stone winding wall in the Anaheim Civic Center.
Artist: Maren HassingerTitle: Twelve Trees #2Map abbreviation: (TT)Location: In front of Buillding E and at Arts Dr., Visual Arts CenterCreated: 1979Installed: 1979/ 2015 (Cal State Fullerton configuration)Materials: wire ropeDimensions: 10' x 140" x 5' (original installation confirguration)Acquisition: Originally commissioned by CalTrans. Gifted to Cal State Fullerton in 2012.
“... Indeed, if one had been driving along the 405 Freeway near the North Mullholland Drive exit from 1979 to this summer, one might have seen amongst the rank scrubby growth Hassinger’s site specific work TwelveTrees #2, an orderly row of “trees” constructed from unraveled steel rope. With its curling strands like flying hair in a whirling dance, these hi-tech trees came to typify the kind of nature/culture tensions and material transformations that defined much of her work in the 80’s and 90’s into the present. Her outdoor installations varied from wiggly galvanized wire rope that appeared to bend and move with the wind to fields of wiry wheat sheaves. ...” FromInside the Artist's Studio (2011)
Maren Hassinger (1947– ) was born in Los Angeles. After studying dance and sculpture at Bennington College, she completed her MFA in Fiber Arts at UCLA. While in Los Angeles, she began making sculptures with bent, twisted and frayed wire rope and created and participated in numerous performances in Los Angeles. Now based in New York City, Hassinger continues to create sculptures, installations, videos, performances and public artworks that deal with equality and our changing relationship to nature. Hassinger has exhibited widely in the United States and abroad. She is the recipient of many awards and honors including grants from the Louis Comfort Tiffany Foundation, Pollock-Krasner Foundation, Gottlieb Foundation, Anonymous was a Woman and a Lifetime Achievement Award from the Women's Caucus for the Arts. Since 1997 she has been the Director of Rinehart School of Graduate Sculpture at the Maryland Institute College of Art in Baltimore.
Title: Water Wall
Map abbreviation: (WW)
Location: East entrance wall of the Visual Arts Center
Material: cold rolled copper sheets and forged bronze
Dimension: 108" x 276" x 216"
Acquisition: The Art Alliance Business and Arts Committee commissioned this piece. The artist donated his time, Mr. And Mrs. Leon Lyon donated the funds for the material and Royal Metals of Santa Ana fabricated the metal from the artist’s maquette.
When gallery director Dextra Frankel saw a particular piece of Ray Hein's jewelry she suggested that it would make a wonderful sculpture. This abstract sculpture was commissioned for the wall and reflective pool at the east end of the Visual Arts Center. In 2006, after the construction of the performing arts center on campus, Water Wall was dismantled and reoriented to serve as a link between that building and the Visual Arts Center. This abstract sculpture was commissioned for the wall and reflective pool at the east end of the Visual Arts Center but was moved and reoriented to create a visual bridge between the visual and performing arts complexes in 2006 when Clayes Performing Arts Center was opened. The sculpture includes the movement of water over an undulating metal surface. The sound of water and the play of light on the oxidized surfaces create a contemplative respite.
Ray Hein (1921–2005) earned an M.A. from CSU Long Beach and taught at CSU Fullerton from 1961 to his retirement. He has exhibited both nationally and internationally and received recognition by the American Crafts Council. His gold and silver jewelry is in many private collections.
Artist: Jene Highstein
Map abbreviation: (F)
Location: Newquist Sculpture Court, Visual Arts Center
Materials: concrete, wood, and metal mesh
Dimensions: 85" x 48" x 48"
Acquisition: Gift of Thomas W. Knaup
Flame was originally created to emerge from the concrete entryway leading into Richard and Louise Newquist’s home. Like many of Jene Highstein’s three-dimensional pieces, it is based on a simplified shape of relaxed geometry that looks and feels somewhat organic and handmade. The artist has sculpted granite in some works; although the shape is similar to that of a large, granite boulder, Flame is formed out of reinforced concrete. It has been suggested that the artist's large-scale sculptures may be intended to evoke monuments of ancient cultures; however, in Flame we are also reminded of modern art movements. Highstein eschews the perfection of the geometric forms associated with the Minimalist movement in favor of the irregular and, in this case, a sometimes puzzling mound, titled Flame.
World-renowned artist Jene Highstein (1942–2013) received a B.A. in philosophy from the University of Maryland in 1963 and studied as a graduate student at the University of Chicago for two years. In 1966 he took up drawing at the New York Studio School. He earned a Post Graduate Diploma at the Royal Academy Schools, London, in 1970. Highstein was also a visiting lecturer, artist, and professor at major universities all over the country. In addition, Highstein won many grants and awards in the arts, including the John Simon Guggenheim Award for sculpture in 1980. Many corporate and public collections hold his works.
Title: Five Untitled Sculptures
Map abbreviation: (FS)
Location: Small sculpture garden in the Visual Arts Center, between Buildings A and B
Dimensions: various sizes
Acquisition: Gift of the artist
In the summer of 1964, art professor Victor C. Smith (a.k.a. Joachim Smith) traveled to Japan on sabbatical leave. He found an art world torn between centuries of tradition and the pull of postwar modernism. The art establishment, which controlled the country's museums, galleries, and civic art institutions, represented tradition. The modernists and their patrons, who found little support in the mainstream, grouped their strength in newly formed art alliances. They worked and exhibited their art apart from what they called “officialdom.” This movement, which had gained international attention, intrigued Smith. In the northern outskirts of Kyoto he visited a group who had constructed simple but ingenious shelters for themselves and their novel work on a lush strip of wooded land. He described the enclave as an “artist’s hamlet.” The artists viewed it as a refuge from official antagonism and indifference.
Smith assembled an exhibition, “Seven Artists from Kyoto,” for the Fullerton campus, which ran from November through December of 1965 before moving to San Diego State in March 1966. Shoji Matsumoto (1931–), one of the Kyoto seven, produced these five sculptures for that show. After many years the weathered shapes of the works suggest industrial totems and even a very uncomfortable chair.
Map abbreviation: (T)
Location: Small sculpture garden in the Visual Arts Center
Dimensions: 24" x 36" x 4"
Acquisition: Gift of the artist
This tombstone/sculpture was originally part of an indoor installation in McNeil’s 1991 solo exhibition at the University Art Museum, Santa Barbara. Titled, "Pioneers of Safety," the exhibition examined the fragile illusions most people maintain about feelings of safety and security. McNeil had the tombstone fabricated at Santa Barbara Monumental a company that routinely produces headstones. Originally, the sculpture was exhibited with a grouping of little duck-shaped hand soaps resting on the top edge of the stone. Between and under the mundane decorative forms of birds pecking at something on a lawn on, the artist has engraved words on the tombstone shaped sculpture in non-type print "NOW I UNDER STAND," suggesting not only an intellectual post-mortem comprehension but also a final resting place. "IT'S TOO LATE" is inscribed on the back, which may eem like a joke but also speaks to the human struggle to be understood as a type of Holy Grail – sought after but not quite within grasp during life. It is up to the viewer to decided whether a final wisdom is of value, and if so, to whom.
Dean McNeil (1957–2013) was primarily known as a photographer and installation artist. His B.F.A. degree is from Antioch College and his M.A. from the Tisch School of the Arts. He has exhibited internationally and is represented in The Brooklyn Museum, Metropolitan Museum of Art (New York), Maison Europeenne de la Photographie (Paris), and other private and public collections.
Stephen Corey Metzger
Title: Solstice and Solstice II
Map abbreviation: (SII)
Location: North of the Titan Student Union
Created: 1986/ 2002
Installation: May 1986/ June 2002
Materials: steel, fiberglass, resin, and aluminum/ aluminum
Dimensions: 120" x 60" x 32"
Acquisition: Commissioned by the Associated Students and presented to the University in 1986 as a remembrance for members of the University family who encountered untimely deaths during the school year of 1985–1986.
The original sculpture, Solstice, consisted of overlapping slabs of steel, fiberglass, resin and aluminum in colors ispired by artist Mark Rothko's color palette and reminiscent of desert rock formations. When this artwork became damaged beyond repair, the Titan Student Union commissioned a new version from Metzger, a Cal State Fullerton alumnus. Solstice II is made entirely of aluminum and, like the earlier version, is intended to serve as a campus memorial for students, staff, and faculty who have died. The installation date for the new work was June 21 – summer solstice.
Stephen Metzger (1948– ) earned his BA, MA, and MFA from Cal State Fullerton. He maintains a studio in Orange County but is also a working musician and songwriter. His wall constructions are included in a number of corporate offices in Orange County and in the Laguna Art Institute.
Harold Leroy “Hal” Pastorius
Map abbreviation: (C)
Location: Between Educational Classroom and Humanities/Social Sciences Buildings
Installation: September 1983
Materials: stainless steel
Dimensions: 96" (h)
Acquisition: Gift of Patricia Fredericks Dolson to the Art Alliance and the University.
The curved shape of this sculpture of highly polished stainless steel is positioned so that it catches and reflects sun rays that enhance the surface of the sculpture throughout the day. An artist who was adept at making site-specific public sculpture, Pastorius may have intended a reference to the "enlightenment" gained from education.
Hal Pastorius (1936–1995) had a varied background as a painter, theater-set designer, teacher, and engineer. Starting in 1970, he produced large, outdoor sculpture and maintained an industrial studio in Laguna Beach. He was very active in that city’s art community. Known for his public art, the artist produced twelve sculptures for the City of Brea. His work Heat Exchanger can be seen on the corner of Imperial Highway and Kramer Avenue in Placentia.
Bernard J. Rosenthal
Title: Terrace Screen
Map abbreviation: (TS) Location: Central courtyard of the Visual Arts Center
Installation: Fall 1968
Material: Cor-ten steel
Dimension: 90" x 216"
Acquisition: John Olson, then Chair of the Division of Fine and Applied Arts, was responsible for having the sculpture funded as part of the construction cost of the Visual Arts Center.
This non-figurative sculpture was commissioned for the courtyard site of the Visual Arts Center shortly after the installation of Rosenthal's large-scale sculpture, Alamo, in the middle of Astor Place in New York. Terrace Screen was constructed in overlapping sections that form a system of interlocking geometric shapes
Bernard Rosenthal (1914–2009) studied at the Art Institute of Chicago and graduated with a B.F.A. from the University of Michigan. This sculpture was constructed in his studio in New York City and installed by the artist on site. His large sculptures can also be seen on the University of Michigan campus and at the Smithsonian in Washington D.C. His work is in the collections of museums throughout the United States including the Los Angeles County Museum of Art, the Whitney Museum of American Art, and The Museum of Modern Art in New York City.
Title: California Carwash
Map abbreviation: (CC)
Location: North side of the Visual Arts Center
Materials: mixed media
Dimensions: 168" x 120" x 44"
Acquisition: Gift of Louise and Richard Newquist
One of the earmarks of the work of Dustin Shuler (1948–2010) is his sense of humor and his often bigger-than-life sculptures. His oeuvre includes airplanes hanging from the side of buildings; a crushed-motorcycle-embedded-in concrete titled Roadkill; a grouping of eight cars impaled on a giant spindle at a shopping mall parking in Illinois; and the bow of an old ship vertically pointing to the sky as if it were sinking into asphalt. Shuler originally intended California Carwash to be an actual “skinned” Volkswagen strung between two palm trees in L.A.'s McArthur Park. For logistical and practical reasons this never worked out. Instead, Shuler created this smaller version of the sculpture with a fabricated car, that looks as if it has been steamrolled, hanging on a clothesline between two Hollywood-like palm trees.
Another way of looking at Shuler's car sculptures is to think of them as "skinned" hunting trophies mounted on the wall. This interpretation capture a sense of the hazards of California driving and perhaps more generally in contemporary terms the approaching obsolescence of the gas-guzzling automobile.
Dustin Shuler's work has been exhibited and reviewed internationally.
Sculpture Collection (continued): Artists: Dustin Shuler to Jay S.Willis