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{{short description|American painter}}
{{Multiple issues|

{{Cleanup|date=August 2008}}
{{Infobox artist
{{Crystal|date=November 2008}}
| name = Tery Fugate-Wilcox
{{more footnotes|date=November 2008}}
| image = File:City-layers.jpg
| image_size =
| caption = 1972 sculpture ''3000 A.D. Diffusion Piece'' in [[NYC Parks]]' J. Hood Wright Park.
| birth_name = Raymond Terry Fugate
| birth_date = {{Birth date and age|1944|11|20}}
| birth_place = [[Kalamazoo, Michigan]], U.S.
| spouse = {{marriage|Valerie Monroe Shakespeare|November 1, 1963|2011|end=d.}}
| nationality = American
| known_for = [[Minimalist]] and [[Actual Art]] painter, sculptor; [[Performance art]]
| training =
| movement =
| notable_works =
| patrons = [[National Gallery of Australia]], [[Public Art Fund]], [[Prudential Financial|Prudential]], [[Lower Manhattan Cultural Council]], [[New York City Department of Parks and Recreation|NYC Parks]]
| awards =
}}
}}


'''Tery Fugate-Wilcox''' (born 1944) (also known as Ter'''r'''y Fugate-Wilcox before the 1980s when he "donated a surplus ''r'' to charity"), is a [[minimalist]] and natural-process postminimalist ([[Actual Art]])-ist painter and sculptor best known for three monumental art works in [[New York City]] and surrounding region: the [[Lower Manhattan Cultural Council|LMCC]]-sponsored ''Holland Tunnel Wall'' (dismantled circa 1989), the 3-storey ''Self-Watering Tetrahedrons'' fountain located in [[Prudential Financial|Prudential]]'s ''Gateway 4'' lobby until 1998, and the permanently installed 36-foot-tall ''3000 A.D. Diffusion Piece'' in [[J. Hood Wright Park]] overlooking the ''[[George Washington Bridge]]''. The latter is the subject of a New York City official historical sign.<ref name="NYC Historical Signs Project: Wright Park: ''3000 AD Diffusion Piece''">NYC Parks, [http://www.nycgovparks.org/parks/j-hood-wright-park/highlights/11938few%20photos%20here] ''[[NYC Parks]]''.</ref> The artist is an [[National Endowment for the Arts|NEA]]-laureate with creations in the collections of the [[Smithsonian Institution]], the [[National Gallery of Australia]], [[NYC Parks]], and several museums. His art at times led to tangles with the [[House Un-American Activities Committee]], the [[New York City Department of Buildings]], and magazine "[[Art in America]]". He was co-organizer of the [[Fulcrum Gallery]] (AKA Fvlcrvm Gallery, AKA Shakespeare's Fvlcrvm) located in the basement of the [[Guggenheim Museum SoHo|SoHo Branch of the Guggenheim Museum]] until both sites closed in 2002 in part due to the [[economic effects arising from the September 11 attacks]] on [[SoHo, Manhattan|SoHo]] and [[TriBeCa]].
'''Tery Fugate-Wilcox''' (born 1944) is an American artist, painter and sculptor, founder of the [[Actual Art]] movement.[[Image:Fugate-Wilcox in arch.jpg|250px|right|Artist Tery Fugate-Wilcox in the Hamptons, c. 1998]]


==Life and work==
==Early life==
According to his own autobiography, ''It's the Artists' Life for Me!'', he was born with the name Raymond Terry Fugate in [[Kalamazoo, Michigan]], and he never met his father (who was [[Killed in action|KIA]] during [[World War II]]). At age sixteen, Raymond was formally adopted by his stepfather, Dale Wilcox, becoming Raymond Terry Fugate-Wilcox.
Born Raymond Terry Fugate in [[Kalamazoo, Michigan]] to Alberta Alaria Fugate, (Italian/German) & Ray Fugate, (Sioux/French).
He attended military schools and some college. His autobiography also says that he married in 1963 to Valerie Monroe Shakespeare who convinced him to drop ''Raymond'' from his name; changing his name to ''Terry Fugate-Wilcox''. Fugate-Wilcox and wife moved to [[New York City]] in December 1968.


==Work==
Ray Fugate, of the [[Blue Fugates]] in Troublesome Creek, Kentucky was killed on Okinawa in [[World War II]], shortly after his son was born. Raymond Terry was left with his maternal grandparents until he was six, when his mother, remarried with a baby daughter returned to retrieve him. At age sixteen, Raymond was formally adopted by his stepfather, Dale Wilcox, becoming Raymond Terry Fugate-Wilcox.<ref name="It's the Artist's Life for me!">[It's the Artist's Life for me!]</ref>
He attended Barbour Hall junior military academy, situated within Nazareth convent, in [[Kalamazoo, Michigan]]; then [[Howe Military School]], Howe Indiana & [[Ferris State University]], [[Big Rapids, Michigan]].<ref name="Marquis Who's Who">[Marquis Who's Who]</ref> In 1963, Fugate-Wilcox married Valerie Monroe Shakespeare <ref name="Marquis Who's Who"/> who convinced him to drop "Raymond", changing his name to Terry Fugate-Wilcox & left college to pursue a career as an artist.(See "It's the Artist's Life for me!" a memoir by Tery Fugate-Wilcox & Valerie Monroe Shakespeare.<ref name="It's the Artist's Life for me!"/>


===Diffusing metal sculptures===
[[Image:first-sculp.jpg|300px|left|Early sculpture of hot-rolled steel, c. 1966|thumb]] While in Kalamazoo, Fugate-Wilcox exhibited his work at [[Western Michigan University]], [[Kalamazoo]], MI; [[University of Illinois]] at Chicago Circle, [[Chicago]], IL; [[Grand Rapids Art Museum]], [[Grand Rapids]], MI and Kalamazoo Art Center, [[Kalamazoo]], MI [1967]; Battle Creek Art Center, [[Battle Creek]], MI [1966] and at the [[Detroit Institute of Arts]] Competition, [[Detroit]], MI [1965].
Consistent with the artist's enthusiasm for the [[Actual Art]] concept that time and natural process should be able to change art's appearance, the most recognizable Fugate-Wilcox pieces involve same-sized flat rectangular slabs of chemically sensitive metals which are physically [[Bolt (fastener)|bolt]]ed together—with the intent that, over time (an estimated year indicated in the piece's title) the slabs would chemically bond together through diffusion or other means into one solid mass. Such pieces include the [[National Gallery of Australia]]'s ''2,500 A.D. ([[copper|Cu]] & [[zinc|Zn]])'', and ''Cu & [[carbon|C]] (3500 ad)'', and also ''Blue steel & brass (2500 ad)'' <ref name='NatGalAus collections'>{{cite web|url=http://artsearch.nga.gov.au/Detail-LRG.cfm?IRN=30145|title=FUGATE-WILCOX, Tery 2500AD (Cu &Zn)|publisher=National Gallery of Australia|author=National Gallery of Australia, Canberra 2010|accessdate=2014-09-12}}</ref> New York City's prominent 1974 outdoor sculpture, ''3000 A.D. Diffusion Piece'' is such a work: in theory, the piece's various [[aluminum]] and [[magnesium]] slabs will join themselves into one continuous alloy block around the year 3000.<ref name="NYC Historical Signs Project: Wright Park: ''3000 AD Diffusion Piece''"/> (The [[geo-coordinates]] of the site of the ''3000 A.D. Diffusion Piece'' are: 40.847283,-73.94205.)


===Other sculpture===
==Conceptual Art Period==
Fugate-Wilcox concrete sculptures typically consist of flat slabs of concrete in the elemental [[polygon]]al shapes so often favored by minimalist artists. Fugate-Wilcox peppers the exposed surfaces of the still-wet concrete with metallic powder or other substances likely to [[oxidize]] or otherwise chemically change with the passage of time, thus changing the surface colors.<ref>[Seeman, Helene."Art at Gateway Center, 2nd Annual Sculpture Exhibit," Newark, Cat, 7/1991, illust.]</ref> The artist's ''Weathering Triangle'' outdoor sculpture in New York City was meant to feature the changing colors brought about by chemical reactions over time; however, Smithsonian photos <ref name="Art Inventories Catalog, Smithsonian American Art Museums: ''Weathering Concrete Triangle'', (sculpture)">Smithsonian (ref# IAS 87870227), [http://collections.si.edu/search/tag/tagDoc.htm?recordID=siris_ari_307093&hlterm=tery%2Bfugate-wilcox] ''[[Smithsonian]]''.</ref> show that in fact the surface was usually just covered-over by unauthorized [[Poster#Event posters|event posters]] and [[graffiti]]. (The piece was also a long-time "litigating triangle" as [[New York City Department of Buildings|NY Buildings]] repeatedly fought to challenge in court the ''Triangle'''s erection without permits.)
In 1968, Fugate-Wilcox and his wife Valerie Shakespeare moved to New York City, when Conceptual Art was at its peak. In reaction to his frustration about the state of the art world, Fugate-Wilcox picked a non-existent address on 57th Street, then the center of art in New York, and created the fictitious Jean Freeman Gallery.<ref name=fineartpub>''Fine Art Publicity: The Complete Guide for Galleries and Artists'', Susan Abbott, Allworth Communications, Inc., 2005, ISBN 1-58115-401-1 [http://books.google.co.uk/books?id=dIVqN97ho6wC&pg=PA29&lpg=PA29&dq=%22jean+freeman+gallery%22&source=web&ots=aLN9X8dj_x&sig=-q4fGod3LxtNfiKpBMFbX5836L4&hl=en&sa=X&oi=book_result&resnum=1&ct=result#PPA29,M1 Google Books] - citing How to Succeed (By Really Trying), Paul Gardner, ARTnews</ref> "Things had become so ridiculous, that I knew I had to do something to expose the political structure of the art scene."<ref name=fineartpub/> It was called "the conceptual artwork that ended conceptual art" by Nancy Foote in an article, "Ripping off the Art Magazines", ''[[Art in America]]'', (the title referred to the unpaid advertising bills - "all forgiven" <ref name=agencycat>Catalogue, ''Agency: Art and Advertising'' exhibition, Sep-Nov 2008, McDonough Museum of Art, ISBN 0-9727049-6-5</ref> left from the creation of the artwork).<ref>''Ripping off the Art Magazines'', "Ripping Off the Art Magazines", Nancy Foote, ''Art in America'', March, 1972</ref>


Some Fugate-Wilcox flat steel creations have involved changes created by blast effects from explosives. The warping and [[spalling]] resulting from contact with detonating explosives is used for artistic effect. Fugate-Wilcox also designs [[lightning]]-modified art. Some of the artist's creations use furnace-burnt or otherwise deweaponized handguns obtained from municipal [[gun buyback program]]s.
[[Brian O'Doherty]] publicly announced ''[[Art in America]]'''s donation on the [[Today (NBC program)|Today Show]], [[NBC]], on which he appeared with Tery Fugate-Wilcox and anchor, Frank McGee, to discuss the Conceptual artwork.<ref>[Foote, Nancy. "Ripping Off the Art Magazines", Art in America, March, 1972, pg 49]</ref> The Jean Freeman Gallery was exposed, before its completion, by Grace Glueck in a ''New York Times'' piece "The Non Gallery of No Art" (24 January 1971).<ref name=agencycat/> The nonexistent gallery continued until the end of the 1970 art season, when Fugate-Wilcox published an announcement from the Jean Freeman Gallery saying: "26 West 57th Street does not exist".<ref>''Six Years: The Dematerialization of the Art Object from 1966 to 1972'', Lucy R Lippard, University of California Press, 1997, ISBN 0-520-21013-1 [http://books.google.co.uk/books?id=2NnA9EdcWigC&pg=PA223&lpg=PA223&dq=%22fugate-Wilcox%22&source=web&ots=SWCiuhAdXH&sig=BU2qeYwgf5U5BF0SqEBpVk1kd1g&hl=en&sa=X&oi=book_result&resnum=9&ct=result#PPA223,M1 Google Books]</ref> John Perrault announced that he "...knew it all along."<ref>["Art &....", ''The [[Village Voice]]'', February, 1971]</ref> and many wrote letters to the gallery saying, "There is a rumor you don't exist. Is that true?"<ref name=agencycat/>


Some sculptures have used bundles of vertically installed [[Lumber#Dimensional lumber|2 by 4 lumber]] which would gradually fan-out slightly from their original rigidly compact vertical formation due to the swelling and warping effects of humidity. According to a 1983 ''[[New York Times]]'' article, a Fugate-Wilcox warping wood piece called ''Weathering Wood'' took advantage of variations in humidity to flex and "flower out" when dry, and then "close back up" when the environment became more humid.<ref>[Glueck, Grace. "Art, A Huge Exhibition at Brooklyn Terminal", [[The New York Times]] 9/30/1983, illust.]</ref>
In 1971, Tery Fugate-Wilcox donated an "r" to the Irish cause, changing his name, yet again, to Tery Fugate-Wilcox. (Shortly after, [[Brian O'Doherty]], then publisher of [[Art in America]] became "[[Patrick Ireland]]" in support of the same cause.) Also in 1971, Tery and his wife, Valerie submitted nude passport photos. Although the photos were taken from the shoulders up, the couple was refused passports and sparked an investigation by the Internal Security Commission, the new investigative branch for [[House Un-American Activities Committee]], and considerable controversy.<ref>[Senate Committee on the Judiciary. Testimony of Frances G. Knight U.S. Congress 1972]</ref>
In 1973, Fugate Wilcox and his wife, Valerie found a lawyer willing to help them file for a "Conceptual Divorce". Although the divorce was never actually finalized and they were never separated, Valerie took back her maiden name, to become [[Valerie Shakespeare]] again, and they celebrated with a huge "Divorce Reception" complete with a chocolate frosted devil's food wedding cake, with the bride and groom climbing down off the top tier.<ref>[Smith, Howard. Scenes: "Terry Fugate-Wilcox: the Art of Divorce”, The Village Voice, Sep 17,1970]</ref>


A future sculptural design for which the artist acquired land and started a nonprofit organization to raise funds is his ''San Andreas Fault Sculpture Project'': a proposed {{convert|1|acre|m2|adj=on}} monolith of [[concrete]] ({{convert|20|ft|m|abbr=on|adj=mid|deep}}) meant to straddle both sides of the [[San Andreas Fault]] so that over time the Earth's own [[Plate tectonics|plate-tectonic forces]] will crack the block into two [[golden rectangle]]s that will continue to move past each other in opposite directions.<ref>[Frankenstein, Alfred."Crack in the World", San Francisco Examiner, Jan. 1, 1976, p.27, illust.]</ref><ref>[Walker, Michael. "Tectonics, The Crack-up", Los Angeles Times Magazine, Dec. 3, 1995, illust]</ref><ref>[Smith, Howard & B. Van Der Horst Scenes "A Slab in Time", Village Voice,6-30-'75, p.16, illust.]</ref> The artist's intent would be to use "the Earth itself, as a tool to make the movement of massive continents visible on a scale that can be understood in human terms".<ref>[Savitt, Mark, "Terry Fugate-Wilcox", Arts Magazine, Dec. 1975, p.10, illust]</ref><ref>[Bartelme, Margaret. "The San Andreas Fault", Art Week, Vol. 6-45, Vol. 7-1, 11/27/'75 & 1/3/’76, Illust.]</ref>
In 1976, they combined with a group of artists, tired of fixing up illegal lofts only to have the landlord double the rent. They bought an old warehouse building on Worth Street, in what would eventually become [[Tribeca]], and created the ultimate studio loft: (5000 square feet, {{convert|18|ft|m|adj=on}} ceiling, {{convert|2500|sqft|m2|adj=on}} terrace and private garage).<ref>[Tadayudi, Kondo. "Retreat: Part 3"" Brutus, Japan, Dec., 1980, pp. 36, 69, 71, illust.]</ref>
[[Image:STUDIO.jpg|300px|center|Studio loft in Tribeca]]


==Actual Art==
===Paintings===
Consistent with the artist's "[[Actual Art]]" philosophy, Fugate-Wilcox's abstract paintings often include in their creation, certain natural processes like weathering, rainfall evidence, or oxidation over time; sometimes the natural processes will (on purpose) cause additional colors to appear upon a once-monochromatic surface.
Tery Fugate-Wilcox found his artistic voice in a genre that eventually became known as [[Actual Art]]. [[Image:Nukes.jpg|thumb|left|caption|"Mace" nuclear missile nosecones, in Battery Park Art show, 1971, by Tery Fugate-Wilcox]]For an early show in Battery Park, Fugate-Wilcox painted 15 nosecones from the defunct nuclear "Mace" cruise missiles, in bright colors of red, blue, yellow or green. Each was then coated with a thin overlay of silver paint and spectators were encouraged to touch the sculptures, thus wearing off the silver, to reveal the colors beneath.<ref>[Caruse, Dennis."Fang is the Word for the Battery Park Art Show", [[New York Daily News]] 10/5/71, illust.]</ref>
[[Image:smgoldleaf.jpg|thumb|right|caption|Small,[{{convert|48|x|60|in|mm}}] "fluffy" gold leaf "painting", by Tery Fugate-Wilcox]]
He later expanded the idea of "Touch" sculptures to include metal works, plated with layers of copper, silver and gold; then sculptures and "paintings" of gold, silver or copper leaf, left unburnished, or "fluffy", so that colors beneath the leaf would emerge, only after the leaf was worn off by the touch of spectators.
[[Image:City-piece.jpg|thumb|upright|left|"3000 A.D." {{convert|40|ft|m|adj=mid|-tall}} diffusion sculpture by Tery Fugate-Wilcox, City-piece]] [[Image:City-layers.jpg|thumb|upright|right|"3000 A.D." detail layers of aluminum and magnesium mix together until inseparable by 3000 AD.]]


A notable example seen by millions of [[New York City]] motorists (during the decade or so it was installed) was the outdoor mural titled ''Holland Tunnel Wall'' —a painting larger than the entire facade of the neighboring [[Our Lady of Vilnius Church (New York City)|national parish church ''Our Lady of Vilnius'']]. located on the multistory parking tower on the northwest corner of [[Varick Street|Varick]] and [[Broome Street|Broome]] directly in view of vehicles entering the [[Holland Tunnel]]. This mural (formerly the site of a megabillboard now gone because the whole building was demolished in November 2015) at first appeared all white until, over time, it became ever more colorful as layers of water-soluble paint weathered away by rain revealed the artist's pigmented underlayers. The artist's intention was to use paints that were incompatible with each other, so that as the work weathered, different colors would emerge.<ref name="ReferenceA">[Parker, Kevin. "Wall Art, Bridge Art", Place Magazine, September 1981]</ref> The first layer was red epoxy paint; the second layer, yellow latex; the third layer was blue oil-based alkyd; the fourth layer was green-pigmented shellac, and the fifth (final) layer was [[whitewas]]h of white water-soluble casein paint.<ref name="ReferenceA"/> (The [[geo-coordinates]] of the former site of the ''Holland Tunnel Wall'' mural are: 40.724455, -74.006305.)
In "Spanish Harlem" an uptown area of New York City,a public vote, initiated by Doris Freedman, director of the Municipal Arts Society, (later changed to [[Public Art Fund]]) in which artists were commissioned to make models of their proposed work, which were then displayed in local schools, banks & on an "Art Bus", allowed citizens, including children, to vote on the [[public art]] to be chosen for their neighborhood. Fugate-Wilcox won the vote and was commissioned to create the sculpture ''3000 A.D. Diffusion Piece'' (1974) in J. Hood Wright Park, in the [[Washington Heights, Manhattan|Washington Heights]] area of [[New York City]].<ref>[Canter, Henry David. "3000 AD: Wright Park's Sculpture of the Future, Heights-Inwood, 11/3/76, p.12, illust.]</ref> The sculpture is composed of several stacked and bolted plates of [[magnesium]] and [[aluminum]], which Fugate-Wilcox estimates will fuse together, by a process known as [[diffusion]] at or around the year 3000 AD.<ref>[Gerston, Jill. "Park Gets 36 Foot Silver Wafer" The [[New York Times]], November 16, 1974, p.C6, illust.]</ref>


===Performance art===
Fugate-Wilcox also created the [[public sculpture]] ''Weathering Triangle'' (1984) at the corner of [[Seventh Avenue (Manhattan)|Seventh Avenue]] and [[Waverly Place (Manhattan)|Waverly Place]] in [[Manhattan]]. Although the work had been approved by the [[New York City Landmarks Commission]], as a temporary work of art, the local Community Board of [[Greenwich Village]] had a long-standing ban on art and caused a sensation, when the work became "criminal art", (Buildings Department violations are prosecuted in [[criminal court]] in New York City). As owner of the property, [[Valerie Shakespeare]] was prosecuted several times for failure to obtain a Building Permit, despite the fact that the Buildings Department had told her the sculpture required no permit.
In an art prank which "[[Art in America]]" called "the conceptual artwork that ended [[conceptual art]]",<ref>''Ripping off the Art Magazines'', "Ripping Off the Art Magazines", Nancy Foote, ''Art in America'', March, 1972</ref> in 1970 Fugate-Wilcox and wife picked a nonexistent address on 57th Street (then the center of the New York art world) and created the fictitious Jean Freeman Gallery.<ref name=fineartpub>''Fine Art Publicity: The Complete Guide for Galleries and Artists'', Susan Abbott, Allworth Communications, Inc., 2005, {{ISBN|1-58115-401-1}} [https://books.google.com/books?id=dIVqN97ho6wC&dq=%22jean+freeman+gallery%22&pg=PA29 Google Books] - citing How to Succeed (By Really Trying), Paul Gardner, ARTnews</ref> Like other significant galleries, the (secretly non-existent) Jean Freeman Gallery advertised in "[[Art in America]]"—but the advertising bills, mailed to the fake address, went unpaid. At the end of the 1970 art season, Fugate-Wilcox published an announcement from the Jean Freeman Gallery saying: "26 West 57th Street does not exist".<ref>''Six Years: The Dematerialization of the Art Object from 1966 to 1972'', Lucy R Lippard, University of California Press, 1997, {{ISBN|0-520-21013-1}} [https://books.google.com/books?id=2NnA9EdcWigC&dq=%22fugate-Wilcox%22&pg=PA223 Google Books]</ref> An early 1971 ''[[New York Times]]'' article by Grace Glueck called "The Non Gallery of No Art" announced in public the story of Jean Freeman Gallery. In a televised appearance with Fugate-Wilcox on the "[[Today (NBC program)|Today]]" show, "Art in America"'s [[Brian O'Doherty]] announced that the magazine would "donate" the costs of the unpaid advertising bills, and then discussed on-air the non-gallery as a conceptual artwork with Fugate-Wilcox and the show host.<ref>[Foote, Nancy. "Ripping Off the Art Magazines", Art in America, March, 1972, pg 49]</ref>
[[Image:Villagepce.jpg|thumb|upright|"Weathering Triangle" by Tery Fugate-Wilcox, metal powders, concrete and weather, {{convert|18|ft|adj=on}} equilateral triangle]]
The nature of a Buildings Department violation is such that, as long as the violation exists, the violator can continually be brought back to [[criminal court]], no matter how many times the case is dismissed. Finally, her lawyer from [[Volunteer Lawyers for the Arts]], demanded a trial to stop what he termed "harassment". At trial, the case was summarily dismissed, "with prejudice", (meaning the case cannot be prosecuted again) by the judge, for failure to make a [[prima facia]] case, that is, failure to prove the sculpture required a building permit.
In the meantime, the [[City of New York]] obtained a [[default judgement]] on a million-dollar lawsuit against Ms. Shakespeare. With the help of Kaye and Scholer, (through [[Volunteer Lawyers for the Arts]]) the City eventually gave up the suit and the sculpture was moved to the home of a private collector in New Jersey.<ref>[Bollinger, Ann V. "Woman & Village Square Off in Battle Over Triangle", [[New York Post]], 3/21/1987 illust.]</ref>


In 1971, Terry Fugate-Wilcox donated a "surplus letter ''R''" from his first name during a fundraiser for the [[Irish republicanism|Irish independence]] cause, thus going from ''Terry'' to ''Tery'' (still pronounced like "Terry"). Shortly afterward, "Art in America"'s [[Brian O'Doherty]] changed his name to "[[Patrick Ireland]]" in support of the same cause.
[[Image:WarpingWood.jpg|thumb|upright|left|"Weathering Wood" by Tery Fugate-Wilcox, Spruce, {{convert|24|ft}} × {{convert|4|ft}} × {{convert|2|ft}}]] Fugate-Wilcox installed a "Warping Wood" sculpture in the [[Brooklyn]] Terminal Exhibition, that ran from September through November 1983. The work, consisting of plain two-by-fours resting on end, upright, in a stepped base, also made of two-by-fours, took advantage of variations in humidity to warp and "flower out" when dry & "close back up" when the environment became more humid.<ref>[Glueck, Grace. "Art, A Huge Exhibition at Brooklyn Terminal", [[The New York Times]] 9/30/1983, illust.]</ref>
Fugate-Wilcox contributed a similar piece, "Weathering Wood", to an outdoor sculpture exhibition at Saunder's Farm, in [[Garrison]], [[New York]] in [2007], where sculptures shared the bucolic pastures with several dozen cows. Surprisingly, over 400 visitors came to the opening of the show, which could only be accessed by a long winding dirt road.


Also in 1971, Tery and his wife, Valerie submitted nude passport photos. Although the photos were taken from the shoulders up, the couple was refused passports and sparked an investigation by the [[House Un-American Activities Committee]]'s new investigative branch called the Internal Security Commission.<ref>[Senate Committee on the Judiciary. Testimony of Frances G. Knight U.S. Congress 1972]</ref>
[[Image:PruPce.jpg|thumb|upright|"Self-Watering Tetrahedrons" by Tery Fugate-Wilcox, metal powders, concrete and water, {{convert|40|ft}} × {{convert|18|ft}} × 18 feet]]
In 1989, Fugate-Wilcox created the {{convert|40|ft|m|adj=mid|-tall}} sculpture for [[Prudential Financial|Prudential]], consisting of 5 various sized tetrahedrons, in a family grouping. Particles of copper, brass, bronze, steel & iron, were embedded just under the surface, as the wet concrete was applied, in the manner of a [[fresco]].<ref>[Seeman, Helene."Art at Gateway Center, 2nd Annual Sculpture Exhibit," Newark, Cat, 7/1991, illust.]</ref>
The work sat in the center of a reflecting pool and as water from the built-in fountain flowed over the sculptures, the colors of blue, turquoise, green, ochre and reddish browns migrated up to create patterns on the surface. The work was in the main lobby of Gateway 4, of the [[Prudential Financial|Prudential]], in [[Newark, New Jersey|Newark]], [[New Jersey]], until 1998, when [[Prudential Financial|Prudential]] sold the building, the fountain was dismantled by the artist and sold to a private collector.<ref>[Johnson, Richard “Feeling Blue” Page Six, NY Post, Monday, August 28, 2000, Illust]</ref>


At one point, Fugate-Wilcox and his wife, Valerie, found a lawyer willing to help them file for a "Conceptual Divorce" in which Mrs. Fugate-Wilcox would reclaim her maiden name to become Valerie Shakespeare; thereafter, couple would continue as before.<ref>[Smith, Howard. Scenes: "Terry Fugate-Wilcox: the Art of Divorce”, The Village Voice, Sep 17,1970]</ref>
==Weathering Wall Artworks==
[[Image:HTWbst.jpg|thumb|left|"Holland Tunnel Wall" painted plywood {{convert|60|ft|m|abbr=on|adj=mid|tall}} by {{convert|80|ft|m|abbr=on|adj=mid|wide}} at the New York entrance to the Holland Tunnel. Painted with red epoxy, yellow latex, blue alkyd, green shellac, white casein, in that order.]]
[[Image:Htw-weathered.jpg|thumb|300px|right|As the paints weather, the various colours are revealed. This image shows three states of the painting: at the left year one, in the middle year two and at the right year three.]]


== Gallery ==
In addition to various public sculptures, Tery Fugate-Wilcox was commissioned to create art pieces on several walls of buildings in NYC. The most notable of these was the "Holland Tunnel Wall" at the New York entrance to the Holland Tunnel. The huge, {{convert|60|ft|m|adj=on}} by {{convert|80|ft|m|adj=on}} billboard space was donated by the owner of the building & the work was painted by riggers of the Apollo painting Company, who donated their services, as well, to the sponsor of the work, Lower Manhattan Cultural Council. The first layer was red epoxy paint; the second layer, yellow latex; the third layer, blue oil-based alkyd; the fourth layer, green pigmented shellac & the fifth, final layer was whitewash of white, water-soluble casein paint. All of the paint was also donated by the manufacturers, under the auspices of the LMCC.


<gallery caption="Various archive photos and artist conception composite images" widths="150px" heights="150px" perrow="4">
The artist's intention was to use paints that were incompatible with each other, so that as the work weathered, all the different colors would emerge, in natural patterns. The work was in place for over ten years. When the sub-structure of the plywood billboard eventually gave way to the effects of weathering & had to be dismantled, the artist was able to reclaim many of the weathered plywood panels which, in turn became individual works of art.<ref>[Parker, Kevin. "Wall Art, Bridge Art", Place Magazine, September 1981]</ref>
File:"Weathering Wall" at the entrance to the Holland Tunnel (montage of various stages, by Tery Fugate-Wilcox).jpg|In-process photos of the application of various paint-layers on the ''Holland Tunnel Wall'' weathering mural.
[[Image:Laf-Wall.jpg|thumb|upright|left|"Weathering Wall", copper, brass, bronze. iron & steel, {{convert|80|x|90|ft}}]] Another wall piece was the ''Weathering Wall'', (1981) facing Houston Street, on the corner of Lafayette Street in NYC. Sponsored by the [[Public Art Fund]], the white wall was embedded with narrow, 3&nbsp;inch by {{convert|3|ft|m|adj=on}} bars of copper, brass, bronze. iron & steel. As the wall weathered, the rain would carry corrosion particles down from the bars, creating patterns of color beneath each bar. Fugate-Wilcox also designed the interior of the loft building, known as "Weathering Heights" after the wall sculpture. Included in his designs were a fluorescent light chandelier in the lobby, unique fluorescent wall fixtures on each floor and a new elevator with floors designated by Roman numerals.
File:Villagepce.jpg|Artist's conception image of the ''Weathering Triangle'' showing color changes caused by weather-induced [[oxidation]] of metal powders embedded in the sculpture's cement surface.

File:Tery_triangle_posterized-2.jpg|Smithsonian archive photo shows the unintended reality of ''Weathering Triangle'' as installed in [[Greenwich Village]] – covered over with unauthorized event posters and graffiti [[Graffiti#Tag|tags]].
==San Andreas Fault Sculpture Project==
File:Tery_triangle_posterized.jpg|Another Smithsonian archive photo of Fugate-Wilcox's ''Weathering Triangle''.
Fugate-Wilcox's current project is the [[San Andreas Fault]] Sculpture Project, which will use [[plate tectonics]] to create a work of art on desert land owned by the artist in the Indio Hills near [[Palm Springs, California|Palm Springs]], [[California]].<ref>[Frankenstein, Alfred."Crack in the World",San Francisco Examiner, Jan. 1, 1976, p.27, illust.]</ref>
File:Tery fugate wilcox si.png|Smithsonian archive photo of the artist's monumental ''3000 A.D. Diffusion Piece'' covered with graffiti in New York City.

File:Tery fugate wilcox si detail.png|Detail view showing the extent at one time of the graffiti vandalism.
The work will comprise a {{convert|1|acre|m2|adj=on}} monolith of highly durable low-exothermic [[Air entrainment|air-entrained]] [[concrete]] ({{convert|20|ft|m|abbr=on|adj=mid|deep}}, {{convert|188|ft|m|abbr=on|adj=mid|wide}}, {{convert|232|ft|m|abbr=on|adj=mid|long}}, and weighing 65,000 tons) spanning the fault and anchored to the bedrock on either side of it.<ref>[Smith, Howard & B. Van Der Horst Scenes "A Slab in Time",Village Voice,6-30-'75, p.16, illust.]</ref>
File:Tery_Fugate-Wilcox_art_01.jpg|The same sculpture, after [[graffiti abatement]] care. (Photo by [[New York City Department of Parks and Recreation]])

File:PruPce.jpg|Artist's conception of the Prudential lobby fountain, ''Self-watering Tetrahedrons''.
As the fault moves [some {{convert|2|-|3|in|mm}} a year] it is intended that the block will break into two [[golden rectangle]]s that will continue to move past each other, with the stated intent of "using the [[Earth]] itself, as a tool to make the movement of massive continents visible on a scale that can be understood in human terms".<ref>[Savitt, Mark, "Terry Fugate-Wilcox", Arts Magazine, Dec. 1975, p.10, illust]</ref>
<!-- Deleted image removed: File:MGM-13 Mace missile nosecones in Battery Park (Terry Fugate-Wilcox art project, 1972).jpg|A 1971 [[Battery Park]] art show with the artist's 15-unit installation titled ''Mace'', made of colorfully painted [[MGM-13 Mace]] missile [[nosecone]]s with soluble metallic paint overlay. Touching by passersby was intended to wear away the outer paint layer and reveal the hidden colors. -->

[[Image:Notxt.jpg|thumb|right|Scale model of San Andreas Fault Sculpture Project]]
File:Notxt.jpg|Artist's conception of the planned ''[[San Andreas Fault]] Sculpture Project'' showing the one-acre slab as it might look after having been (purposefully) cracked into two offset halves by [[tectonics|tectonic]] forces.
</gallery>

Intended to be visible from the tram overlooking the area, the Project is to be a centre for education and information about [[plate tectonics]], [[earth sciences]] and [[environmentalism|environmental concerns]]. A gallery about the Project will be maintained at the site and in [[Palm Springs, California|Palm Springs]], and the Project will be available for use to raise monies for other related charitable causes, with access to the top for events and fundraising. The site will also be maintained in the spirit of a public park, and the Project intends to restore the surrounding desert, subject to past disruptions, to its former natural beauty.<ref>[Walker, Michael. "Tectonics, The Crack-up", Los Angeles Times Magazine, Dec. 3, 1995, illust]</ref>

The work is sponsored by the [[Actual Art]] Foundation, a not-for-profit, tax-exempt, 501(c)-3 organization, founded in 1982. The Project is supported entirely by donations from art patrons "with a desire to establish a deeper more meaningful dialogue with the [[Earth]]".<ref>[Bartelme, Margaret. "The San Andreas Fault", Art Week, Vol. 6-45, Vol. 7-1, 11/27/'75 & 1/3/’76, Illust.]</ref>

==Collections==
Fugate-Wilcox' work is in the collections of: the [[City of New York]]; [[Solomon R. Guggenheim Museum|Guggenheim Museum]]; [[Museum of Modern Art]], [[New York]]; [[National Gallery of Australia]];<ref>[http://artsearch.nga.gov.au/Detail.cfm?IRN=30145 2500 AD], 1970</ref><ref>[http://artsearch.nga.gov.au/Detail.cfm?IRN=30147 3500 AD], 1972</ref><ref>[http://artsearch.nga.gov.au/Detail.cfm?IRN=30149 2500 AD], 1975</ref> the [[Smithsonian]] Collection.<ref>[http://siris-artinventories.si.edu/ipac20/ipac.jsp?session=122616T83D28I.17574&profile=ariall&uri=link=3100006~!269183~!3100001~!3100002&aspect=Browse&menu=search&ri=2&source=~!siartinventories&term=Fugate-Wilcox%2C+Tery%2C+1944-+%2C+sculptor.&index=AUTHOR#focus] Smithsonian</ref>
[[Albright-Knox Art Gallery]], [[Buffalo, New York]]; [[Indianapolis Museum of Art]]; J. Patrick [[Lannan Foundation]]; Damson Oil Co.; [[American Council for the Arts]]; [[University of Hartford]]; National Shopping Centers; [[Western Michigan University]]; [[Detroit Institute of Art]]; [[Chicago Art Institute]]; and several major sculpture installations in [[New York City]], [[Newark, New Jersey|Newark]], [[New Jersey]] and around the world. His work has been in forty one-person shows, most recently at [[Shakespeare's Fvlcrvm]] in [[SoHo]] and at Art House, [[Candlewood Lake]] Art Center, in [[Connecticut]]. His work is in the collections of over 200 art patrons internationally; he is a [[National Endowment for the Arts|NEA]] laureate and is listed in [[Marquis Who's Who]], 2008. Tery Fugate-Wilcox is the author of a new book; "It's the Artist's Life for Me!" written with Valerie Monroe Shakespeare, his wife & life partner.<ref>[//www.its-the-artists-life-for-me.info It's the Artist's Life for me.info], retrieved August 20, 2008]</ref>


==References==
==References==
{{reflist|2}}
{{reflist}}


==External links==
==External links==
* [http://www.bridgeandtunnelclub.com/bigmap/manhattan/uppermanhattan/washingtonheights/jhoodwrightpark/ NYC Bridge and Tunnel Club's photo page for J. Hood Wright Park with two recent color photos of ''3000 A.D. Diffusion Piece''.]
* [http://www.actualartfoundation.org]: Actual Art Foundation
* [http://artsearch.nga.gov.au/Detail.cfm?IRN=30147&PICTAUS=True National Gallery of Australia photo/info page of a small Fugate-Wilcox piece in their collection.]
* [http://www.shakespearesfvlcrvm.com]: Shakespeare's Fvlcrvm
* [http://artsearch.nga.gov.au/Detail.cfm?IRN=30145&PICTAUS=True National Gallery of Australia photo/info page of a larger Fugate-Wilcox piece in their collection.]
* [http://www.teryfugate-wilcox.web.officelive.com]: Fugate-Wilcox
* [http://collections.si.edu/search/results.htm?q=record_ID:siris_ari_307082 Smithsonian archive info on ''Three Thousand A.D. Diffusion Piece''.]
* [http://www.sanandreasfaultsculpture.info]: San Andreas Fault Sculpture
* {{YouTube|HRC27kmZfF8|TFM clip of Fugate-Wilcox}} at Fvlcrvm Gallery explaining [[Actual Art]] (Content note: has nudity and vulgar language ).
* [http://www.valeriemonroeshakespeare.info]: Valerie Monroe Shakespeare
* [http://data.free103point9.org/r/av/55/5a/69_20130704.mp3 Mp3 audio of a WGXC radio two-hour talk with the artist recalling the old SoHo art scene (intro "music" plays until 5:15 into the piece)]
* [http://www.artistslife.books.officelive.com]: It's the Artist's Life for me, life story and memoirs
<!-- these are all dead links
* [http://www.youtube.com/watch?v=HRC27kmZfF8] Video on YouTube, by Richard Courier with TFW explaining [[Actual Art]], at [[Fvlcrvm Gallery]].
* [http://www.actualartfoundation.org Actual Art Foundation]
* [http://www.shakespearesfvlcrvm.com Shakespeare's Fvlcrvm]
* [http://www.teryfugate-wilcox.web.officelive.com Fugate-Wilcox]
* [http://www.sanandreasfaultsculpture.info San Andreas Fault Sculpture]
* [http://www.valeriemonroeshakespeare.info Valerie Monroe Shakespeare]
* [http://www.artistslife.books.officelive.com It's the Artist's Life for me, life story and memoirs] -->

{{Authority control}}


{{Persondata <!-- Metadata: see [[Wikipedia:Persondata]]. -->
| NAME =Fugate-Wilcox
| ALTERNATIVE NAMES =
| SHORT DESCRIPTION = American artist
| DATE OF BIRTH = 1946
| PLACE OF BIRTH =
| DATE OF DEATH =
| PLACE OF DEATH =
}}
{{DEFAULTSORT:Fugate-Wilcox}}
{{DEFAULTSORT:Fugate-Wilcox}}
[[Category:1946 births]]
[[Category:1946 births]]
[[Category:Living people]]
[[Category:Living people]]
[[Category:American artists]]
[[Category:21st-century American painters]]
[[Category:20th-century American sculptors]]
[[Category:People from Kalamazoo, Michigan]]
[[Category:Minimalist artists]]
[[Category:American performance artists]]
[[Category:20th-century American painters]]
[[Category:21st-century American sculptors]]

Latest revision as of 15:18, 25 March 2023

Tery Fugate-Wilcox
1972 sculpture 3000 A.D. Diffusion Piece in NYC Parks' J. Hood Wright Park.
Born
Raymond Terry Fugate

(1944-11-20) November 20, 1944 (age 80)
Kalamazoo, Michigan, U.S.
NationalityAmerican
Known forMinimalist and Actual Art painter, sculptor; Performance art
Spouse
Valerie Monroe Shakespeare
​
​
(m. 1963; died 2011)​
Patron(s)National Gallery of Australia, Public Art Fund, Prudential, Lower Manhattan Cultural Council, NYC Parks

Tery Fugate-Wilcox (born 1944) (also known as Terry Fugate-Wilcox before the 1980s when he "donated a surplus r to charity"), is a minimalist and natural-process postminimalist (Actual Art)-ist painter and sculptor best known for three monumental art works in New York City and surrounding region: the LMCC-sponsored Holland Tunnel Wall (dismantled circa 1989), the 3-storey Self-Watering Tetrahedrons fountain located in Prudential's Gateway 4 lobby until 1998, and the permanently installed 36-foot-tall 3000 A.D. Diffusion Piece in J. Hood Wright Park overlooking the George Washington Bridge. The latter is the subject of a New York City official historical sign.[1] The artist is an NEA-laureate with creations in the collections of the Smithsonian Institution, the National Gallery of Australia, NYC Parks, and several museums. His art at times led to tangles with the House Un-American Activities Committee, the New York City Department of Buildings, and magazine "Art in America". He was co-organizer of the Fulcrum Gallery (AKA Fvlcrvm Gallery, AKA Shakespeare's Fvlcrvm) located in the basement of the SoHo Branch of the Guggenheim Museum until both sites closed in 2002 in part due to the economic effects arising from the September 11 attacks on SoHo and TriBeCa.

Early life

[edit]

According to his own autobiography, It's the Artists' Life for Me!, he was born with the name Raymond Terry Fugate in Kalamazoo, Michigan, and he never met his father (who was KIA during World War II). At age sixteen, Raymond was formally adopted by his stepfather, Dale Wilcox, becoming Raymond Terry Fugate-Wilcox. He attended military schools and some college. His autobiography also says that he married in 1963 to Valerie Monroe Shakespeare who convinced him to drop Raymond from his name; changing his name to Terry Fugate-Wilcox. Fugate-Wilcox and wife moved to New York City in December 1968.

Work

[edit]

Diffusing metal sculptures

[edit]

Consistent with the artist's enthusiasm for the Actual Art concept that time and natural process should be able to change art's appearance, the most recognizable Fugate-Wilcox pieces involve same-sized flat rectangular slabs of chemically sensitive metals which are physically bolted together—with the intent that, over time (an estimated year indicated in the piece's title) the slabs would chemically bond together through diffusion or other means into one solid mass. Such pieces include the National Gallery of Australia's 2,500 A.D. (Cu & Zn), and Cu & C (3500 ad), and also Blue steel & brass (2500 ad) [2] New York City's prominent 1974 outdoor sculpture, 3000 A.D. Diffusion Piece is such a work: in theory, the piece's various aluminum and magnesium slabs will join themselves into one continuous alloy block around the year 3000.[1] (The geo-coordinates of the site of the 3000 A.D. Diffusion Piece are: 40.847283,-73.94205.)

Other sculpture

[edit]

Fugate-Wilcox concrete sculptures typically consist of flat slabs of concrete in the elemental polygonal shapes so often favored by minimalist artists. Fugate-Wilcox peppers the exposed surfaces of the still-wet concrete with metallic powder or other substances likely to oxidize or otherwise chemically change with the passage of time, thus changing the surface colors.[3] The artist's Weathering Triangle outdoor sculpture in New York City was meant to feature the changing colors brought about by chemical reactions over time; however, Smithsonian photos [4] show that in fact the surface was usually just covered-over by unauthorized event posters and graffiti. (The piece was also a long-time "litigating triangle" as NY Buildings repeatedly fought to challenge in court the Triangle's erection without permits.)

Some Fugate-Wilcox flat steel creations have involved changes created by blast effects from explosives. The warping and spalling resulting from contact with detonating explosives is used for artistic effect. Fugate-Wilcox also designs lightning-modified art. Some of the artist's creations use furnace-burnt or otherwise deweaponized handguns obtained from municipal gun buyback programs.

Some sculptures have used bundles of vertically installed 2 by 4 lumber which would gradually fan-out slightly from their original rigidly compact vertical formation due to the swelling and warping effects of humidity. According to a 1983 New York Times article, a Fugate-Wilcox warping wood piece called Weathering Wood took advantage of variations in humidity to flex and "flower out" when dry, and then "close back up" when the environment became more humid.[5]

A future sculptural design for which the artist acquired land and started a nonprofit organization to raise funds is his San Andreas Fault Sculpture Project: a proposed 1-acre (4,000 m2) monolith of concrete (20 ft deep (6.1 m)) meant to straddle both sides of the San Andreas Fault so that over time the Earth's own plate-tectonic forces will crack the block into two golden rectangles that will continue to move past each other in opposite directions.[6][7][8] The artist's intent would be to use "the Earth itself, as a tool to make the movement of massive continents visible on a scale that can be understood in human terms".[9][10]

Paintings

[edit]

Consistent with the artist's "Actual Art" philosophy, Fugate-Wilcox's abstract paintings often include in their creation, certain natural processes like weathering, rainfall evidence, or oxidation over time; sometimes the natural processes will (on purpose) cause additional colors to appear upon a once-monochromatic surface.

A notable example seen by millions of New York City motorists (during the decade or so it was installed) was the outdoor mural titled Holland Tunnel Wall —a painting larger than the entire facade of the neighboring national parish church Our Lady of Vilnius. located on the multistory parking tower on the northwest corner of Varick and Broome directly in view of vehicles entering the Holland Tunnel. This mural (formerly the site of a megabillboard now gone because the whole building was demolished in November 2015) at first appeared all white until, over time, it became ever more colorful as layers of water-soluble paint weathered away by rain revealed the artist's pigmented underlayers. The artist's intention was to use paints that were incompatible with each other, so that as the work weathered, different colors would emerge.[11] The first layer was red epoxy paint; the second layer, yellow latex; the third layer was blue oil-based alkyd; the fourth layer was green-pigmented shellac, and the fifth (final) layer was whitewash of white water-soluble casein paint.[11] (The geo-coordinates of the former site of the Holland Tunnel Wall mural are: 40.724455, -74.006305.)

Performance art

[edit]

In an art prank which "Art in America" called "the conceptual artwork that ended conceptual art",[12] in 1970 Fugate-Wilcox and wife picked a nonexistent address on 57th Street (then the center of the New York art world) and created the fictitious Jean Freeman Gallery.[13] Like other significant galleries, the (secretly non-existent) Jean Freeman Gallery advertised in "Art in America"—but the advertising bills, mailed to the fake address, went unpaid. At the end of the 1970 art season, Fugate-Wilcox published an announcement from the Jean Freeman Gallery saying: "26 West 57th Street does not exist".[14] An early 1971 New York Times article by Grace Glueck called "The Non Gallery of No Art" announced in public the story of Jean Freeman Gallery. In a televised appearance with Fugate-Wilcox on the "Today" show, "Art in America"'s Brian O'Doherty announced that the magazine would "donate" the costs of the unpaid advertising bills, and then discussed on-air the non-gallery as a conceptual artwork with Fugate-Wilcox and the show host.[15]

In 1971, Terry Fugate-Wilcox donated a "surplus letter R" from his first name during a fundraiser for the Irish independence cause, thus going from Terry to Tery (still pronounced like "Terry"). Shortly afterward, "Art in America"'s Brian O'Doherty changed his name to "Patrick Ireland" in support of the same cause.

Also in 1971, Tery and his wife, Valerie submitted nude passport photos. Although the photos were taken from the shoulders up, the couple was refused passports and sparked an investigation by the House Un-American Activities Committee's new investigative branch called the Internal Security Commission.[16]

At one point, Fugate-Wilcox and his wife, Valerie, found a lawyer willing to help them file for a "Conceptual Divorce" in which Mrs. Fugate-Wilcox would reclaim her maiden name to become Valerie Shakespeare; thereafter, couple would continue as before.[17]

[edit]
  • Various archive photos and artist conception composite images
  • In-process photos of the application of various paint-layers on the Holland Tunnel Wall weathering mural.
    In-process photos of the application of various paint-layers on the Holland Tunnel Wall weathering mural.
  • Artist's conception image of the Weathering Triangle showing color changes caused by weather-induced oxidation of metal powders embedded in the sculpture's cement surface.
    Artist's conception image of the Weathering Triangle showing color changes caused by weather-induced oxidation of metal powders embedded in the sculpture's cement surface.
  • Smithsonian archive photo shows the unintended reality of Weathering Triangle as installed in Greenwich Village – covered over with unauthorized event posters and graffiti tags.
    Smithsonian archive photo shows the unintended reality of Weathering Triangle as installed in Greenwich Village – covered over with unauthorized event posters and graffiti tags.
  • Another Smithsonian archive photo of Fugate-Wilcox's Weathering Triangle.
    Another Smithsonian archive photo of Fugate-Wilcox's Weathering Triangle.
  • Smithsonian archive photo of the artist's monumental 3000 A.D. Diffusion Piece covered with graffiti in New York City.
    Smithsonian archive photo of the artist's monumental 3000 A.D. Diffusion Piece covered with graffiti in New York City.
  • Detail view showing the extent at one time of the graffiti vandalism.
    Detail view showing the extent at one time of the graffiti vandalism.
  • The same sculpture, after graffiti abatement care. (Photo by New York City Department of Parks and Recreation)
    The same sculpture, after graffiti abatement care. (Photo by New York City Department of Parks and Recreation)
  • Artist's conception of the Prudential lobby fountain, Self-watering Tetrahedrons.
    Artist's conception of the Prudential lobby fountain, Self-watering Tetrahedrons.
  • Artist's conception of the planned San Andreas Fault Sculpture Project showing the one-acre slab as it might look after having been (purposefully) cracked into two offset halves by tectonic forces.
    Artist's conception of the planned San Andreas Fault Sculpture Project showing the one-acre slab as it might look after having been (purposefully) cracked into two offset halves by tectonic forces.

References

[edit]
  1. ^ a b NYC Parks, [1] NYC Parks.
  2. ^ National Gallery of Australia, Canberra 2010. "FUGATE-WILCOX, Tery 2500AD (Cu &Zn)". National Gallery of Australia. Retrieved 2014-09-12.{{cite web}}: CS1 maint: numeric names: authors list (link)
  3. ^ [Seeman, Helene."Art at Gateway Center, 2nd Annual Sculpture Exhibit," Newark, Cat, 7/1991, illust.]
  4. ^ Smithsonian (ref# IAS 87870227), [2] Smithsonian.
  5. ^ [Glueck, Grace. "Art, A Huge Exhibition at Brooklyn Terminal", The New York Times 9/30/1983, illust.]
  6. ^ [Frankenstein, Alfred."Crack in the World", San Francisco Examiner, Jan. 1, 1976, p.27, illust.]
  7. ^ [Walker, Michael. "Tectonics, The Crack-up", Los Angeles Times Magazine, Dec. 3, 1995, illust]
  8. ^ [Smith, Howard & B. Van Der Horst Scenes "A Slab in Time", Village Voice,6-30-'75, p.16, illust.]
  9. ^ [Savitt, Mark, "Terry Fugate-Wilcox", Arts Magazine, Dec. 1975, p.10, illust]
  10. ^ [Bartelme, Margaret. "The San Andreas Fault", Art Week, Vol. 6-45, Vol. 7-1, 11/27/'75 & 1/3/’76, Illust.]
  11. ^ a b [Parker, Kevin. "Wall Art, Bridge Art", Place Magazine, September 1981]
  12. ^ Ripping off the Art Magazines, "Ripping Off the Art Magazines", Nancy Foote, Art in America, March, 1972
  13. ^ Fine Art Publicity: The Complete Guide for Galleries and Artists, Susan Abbott, Allworth Communications, Inc., 2005, ISBN 1-58115-401-1 Google Books - citing How to Succeed (By Really Trying), Paul Gardner, ARTnews
  14. ^ Six Years: The Dematerialization of the Art Object from 1966 to 1972, Lucy R Lippard, University of California Press, 1997, ISBN 0-520-21013-1 Google Books
  15. ^ [Foote, Nancy. "Ripping Off the Art Magazines", Art in America, March, 1972, pg 49]
  16. ^ [Senate Committee on the Judiciary. Testimony of Frances G. Knight U.S. Congress 1972]
  17. ^ [Smith, Howard. Scenes: "Terry Fugate-Wilcox: the Art of Divorce”, The Village Voice, Sep 17,1970]
[edit]
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