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Sculpture Garden

The Vermont Arts Council and the Vermont Department of Buildings and General Services maintain an exhibit of outdoor sculpture in the Council's Sculpture Garden. The garden is located at the Council offices at 134-136 State Street in Montpelier, next door to the Capital Region Visitors Center and is fully accessible.

The Sculpture Garden is a public/private collaboration that features rotating two-year exhibits of contemporary work created by Vermont artists. Designed in 2002 by Burlington landscape architects H. Keith Wagner and Associates, it offers a place to picnic or engage in quiet reflection in Montpelier's downtown.


Michael​ ​Zebrowski,​ ​curator | Kelly​ ​Holt,​ ​assistant​ ​curator | Martin​ ​De​ Geus,​ technical​ ​assistant

Curators' Statement

“The​ ​tree​ ​is​ ​an​ ​element​ ​of​ ​regeneration​ ​which​ ​in​ ​itself​ ​is​ ​a​ ​concept​ ​of​ ​time.”​ ​(Joseph​ ​Beuys​ ​in conversation​ ​with​ ​Richard​ ​Demarco,​ ​1982)

The ​theme​ of this exhibit considers​ ​time​ ​specificity relevant​ ​to site​ ​specificity​ ​in​ ​the​ ​practice​ ​of contemporary​ ​sculpture,​ ​installation​ ​art​, ​and​ ​performance.​ ​The work​ ​installed​ ​for​ ​​"SiteTime"​ ​​invites​ ​the​ ​public​ ​to​ ​think​ ​about​ ​and​ ​create​ ​new​ ​perspectives​ ​of what​ ​is​ ​then,​ ​what​ ​is​ ​now​, ​and​ ​what​ ​is​ ​to​ ​come — ​all​ ​relative​ ​to​ ​Vermont​ ​and​ ​our​ ​global​ ​relativity.

Erika​ ​Senft​ ​Miller,​ ​Nancy​ ​Winship​ ​Milliken​, ​and​ ​Michael​ ​Zebrowski​ ​will​ ​work​ ​collaboratively performing​ ​additive​ ​and​ ​subtractive​ ​actions​ ​in​ ​the​ ​Sculpture​ ​Garden​ ​over​ ​time.​ ​A​ ​note​ ​on​ ​the exhibition​ ​format:​ ​This​ ​two​-year​ ​sculpture​ ​exhibition​ ​will​ ​be​ ​a​ ​departure​ ​from​ ​the​ ​standard where​ ​work​ ​created​ ​off​ ​site​ ​is​ ​placed​ ​and​ ​left​ ​for​ ​the​ ​public​ ​to​ ​view,​ ​unchanged​ ​for​ ​the​ ​duration of​ ​the​ ​exhibit.​ ​The​ ​work​ ​created​ ​by​ ​this​ ​collaborative​ ​will​ ​evolve​ ​over​ ​the​ ​course​ ​of​ ​the exhibition​ ​timeframe​ ​in​ ​conjunction​ ​with​ ​a​ ​two​ ​year​ ​cycle​ ​of​ ​cordwood.​ ​Physical​ ​constructions, video​ ​and​ ​sound​ ​installations,​ ​artifacts,​ ​event​-​based​ ​movement​ ​performances,​ ​and​ ​stacks​ ​of slowly​ ​drying​ ​cordwood​ ​will​ ​intentionally​ ​and​ ​naturally​ ​change​ ​as​ ​the​ ​artists​ ​respond​ ​to​ ​current and​ ​ongoing​ ​cordwood​ ​rhythm.​ ​The​ ​artists​ ​have​ ​chosen​ ​to​ ​work​ ​directly​ ​with​ ​the​ ​cyclical activity​ ​of​ ​sourcing,​ ​processing,​ ​and​ ​consuming​ ​cordwood​ ​for​ ​heat​ ​during​ ​the​ ​cold​ ​months because​ ​of​ ​its​ ​vital​ ​way​ ​of​ ​connecting​ ​our​ ​hands​ ​and​ ​our​ ​energy​ ​to​ ​the​ Earth​ ​as​ ​it​ ​rotates around​ ​the​ ​sun.​ ​The​ ​cordwood​ ​process​ ​itself​ ​is​ ​active​ ​and​ ​constantly​ ​in​ ​flux.​ ​The​ ​artists​ ​are collectively​ ​taking​ ​direct​ ​cues​ ​from​ ​researching​ ​and​ ​experiencing​ ​the​ ​process​ ​for​ ​themselves​ ​in creation​ ​of​ ​the​ ​work — all​ ​in​ ​an​ ​effort​ ​to​ ​share​ ​a​ ​series​ ​of​ ​new​ ​perspectives​ ​of​ ​an​ ​age​-old practice.​ The​ ​actions​ ​and​ ​physical​ ​products​ ​will​ ​be​ ​encountered,​ ​discussed,​ ​and​ ​documented. Evolution​ ​of​ ​the​ ​exhibition​ ​answers​ ​the​ ​question​ ​of​ ​what​ ​makes​ ​space​ ​productive​ ​and challenging​ ​at​ ​the​ ​same​ ​time.​ ​The​ ​community​ ​will​ ​be​ ​invited​ ​to​ ​participate​ ​as​ ​elements​ ​of​ ​the exhibition​ ​are​ ​revealed.​ ​The​ ​clock​ ​will​ ​start​ ​ticking​ ​in​ ​October​ ​2017.

The​ ​entrance​ ​to​ ​the​ ​Sculpture​ ​Garden​ ​will​ ​be​ ​anchored​ ​by​ ​Justin​ ​Kenney’s​ ​“Eating​ ​of​ ​Morals.” Kenney’s​ ​monumental​ ​concrete​ ​sculpture​ ​was​ ​chosen​ ​through​ ​a​ ​competitive​ ​call​ ​to​ ​artists​ ​who participated​ ​in​ ​the​ ​Vermont​ ​Arts​ ​Council’s​ ​Breaking​ ​Into​ ​Business​ ​workshop.​ ​Kenney’s​ ​choice of​ ​material​ ​is​ ​to​ ​bring​ ​the​ ​utilitarian​ ​concrete​ ​substance​ ​to​ ​a​ ​place​ ​of​ ​dialogue — rooted​ ​in society​ ​and​ ​culture.​ ​As​ ​with​ ​the​ ​wood,​ ​Kenney’s​ ​piece​ ​is​ ​transformative.​ ​Created​ ​from​ ​negative space,​ ​the​ ​wax​ ​molds​ ​holding​ ​the​ ​concrete​ ​reveal​ ​the​ ​two​ ​forms​ ​coming​ ​together.

more about the artists