Fletcher Benton at Symphony Hall

 Posted by on July 2, 2013
Jul 022013
 

201 Van Ness
Civic Center

Fletcher Benton at Symphony Hall

Titled, Balanced Unbalanced T, this Steel and Flat Black Enamel piece sits on the exterior second floor of Davies Symphony Hall, it is accessible at all times via a staircase that can be accessed off of Grove Street.

The piece, done in 1981, is by Fletcher Benton, who has been in this website before .

Fletcher Benton (born February 25, 1931 Jackson, Ohio) is from San Francisco, California

He graduated from Miami University, Oxford, Ohio with a Bachelor of Fine Arts degree in 1956. From 1964 to 1967 he taught at the San Francisco Art Institute and taught as an associate professor and then professor of art at San Jose State University from 1967-1986.

Balanced Unbalanced T by Fletcher Benton

 

This piece is actually owned by the San Francisco Museum of Modern Art.

 

Folded Circle Split

 Posted by on April 12, 2013
Apr 122013
 

201 Spear Street
SOMA Financial Area

Folded Circle Split by Fletcher BentonFolded Circle Split by Fletcher Benton – 1984

In walking through the lobby of 201 Spear Street I tripped upon this sculpture.  The office building is open from 8:00 am to 5:00 pm M-F.

Fletcher Benton (born February 25, 1931 Jackson, Ohio) is from San Francisco, California

He graduated from Miami University, Oxford, Ohio with a Bachelor of Fine Arts degree in 1956. From 1964 to 1967 he taught at the San Francisco Art Institute and taught as an associate professor and then professor of art at San Jose State University from 1967-1986.

Fletcher Benton began his career as an abstractionist painter in the 1950s and 1960s. Frustrated with the limitations of paint on canvas, Benton began work on movement with geometric pattern pieces and boxes which he was familiar with from his work in commercial signs. This was at the beginning of the kinetic movement, and Benton worked largely in isolation, unaware of other efforts of kinetic artists. The early works were more concerned with change, rather than movement. The pieces were really more like three-dimensional paintings. Full three-dimensional sculptures designed to be viewed from all angles came later and the movement of the pieces became less prevalent in his later works. In the late 1970s, he abandoned kinetic art, switching to a more traditional bronze and steel.

I tripped upon this piece while looking for two other pieces that are part of the 201 Spear Street POPOS.  The pieces, titled Smile and News are so poorly executed that I will leave it to the explorer in you to find them and make your own opinion.

Lobby of 201 Spear Street, SF

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