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The How to Create a School Sculpture Garden Manual


21. GENERAL RESOURCES
*This section provides supplementary resources - including team members, additional content, print, periodicals, videos, and Web sites.

  1. Meet the Team
  2. From My Perspective
    1. Architect
    2. Parent
    3. Student
    4. Landscape Architect
    5. Principal
    6. Museum Curator
    7. Art Teacher
    8. Director of Educational Programs
  3. Careers Related to Design, Development, and Maintenance of a School Sculpture Garden
    1. Architecture Teacher
    2. Principal of High School
    3. Director of Education
    4. Art Teacher
    5. Museum Curator
    6. Landscape Architect
  4. Print
  5. Video
  6. Art Resource Websites
  7. NJ Resources

MEET THE TEAM (Back to Top)

INTERNATIONAL SCULPTURE CENTER

CAROL STERLING - Partner
Carol Sterling served as the Director of Education for the International Sculpture Center (ISC) from l998 to the present where she is currently working as a consultant. In her capacity as the Director of Education, Ms. Sterling has managed public programs for K-Higher Education including curriculum and recognition projects in the United States, North America and around the world. Prior to joining the ISC, Ms. Sterling served as Vice President of the National Foundation for Advancement in the Arts, where she coordinated the ARTS and Recognition Talent Search Program for High School Seniors in the United States. Other positions include: Director of Arts Education for the then American Council for the Arts (renamed Americans For the Arts); Director of Arts Partners, a collaborative program with four NYC agencies.

GROUNDS FOR SCULPTURE

BROOKE BARRIE- Partner
Brooke Barrie is Director and Curator of Grounds For Sculpture, a sculpture park and museum in Hamilton, New Jersey, which celebrated its Tenth Anniversary in 2002. She holds a Master of Fine Arts in Sculpture from Tulane University. An exhibited artist, Barrie was the Academic Director of the Johnson Atelier Technical Institute of Sculpture in New Jersey for fifteen years. She has been with Grounds For Sculpture since its inception.

In addition to her work at Grounds For Sculpture, she is the author of Contemporary Outdoor Sculpture, published by Rockport Publishers, Inc. She has worked extensively in the field of contemporary sculpture as a consultant, juror, lecturer, and curator, most recently for sculpture exhibitions at the Polk Museum of Art, Lakeland, FL; the Gallery of South Orange, South Orange, NJ; the Lakeview Cemetery, Cleveland, OH; the Leigh Yawkey Woodson Art Museum, Wausau, WI; and Pier Walk, Chicago, IL.

AYLIN GREEN - Contributing Writer
Aylin Green works in the Education and Volunteer Services department of Grounds For Sculpture, a 35-acre sculpture park and museum in Hamilton, New Jersey that exhibits contemporary works by emerging and well-known sculptors. She is responsible for coordinating and managing the education and volunteer department, where she develops and coordinates educational programming, coordinates and trains docents and volunteers, and writes the educational and promotional materials for the changing exhibitions. She has experience as an art teacher, and holds a Master of Arts in Art Education from Tufts University and the School of the Museum of Fine Arts. An artist herself, she received her Bachelor of Fine Arts from Mason Gross School of the Arts at Rutgers University.

NOTTINGHAM HIGH SCHOOL

NEIL CAMPEAS - Principal
Neil Campeas is the principal of Nottingham High School, located in Hamilton Township, Mercer County. Previously, he served as a Teacher of English, English Supervisor, High School Assistant Principal, Middle School Assistant Principal, and K-12 District Supervisor for Language Arts and Social Studies in the East Windsor Regional School District. He was an adjunct professor at Mercer County Community College and did freelance writing for local newspapers. Recently, he had two articles published in Educational Viewpoints.


SCOTT INNOCENZI - Contributing Writer
As far back as he can remember, Scott Innocenzi has always had an interest in buildings, landscapes, blueprints, and architecture. Scott has been teaching Architecture and Technology at Nottingham High School for the past nine years. Throughout his career Scott has had the opportunity to design, draft, and draw. Recently, Scott was selected to attend the Falling water Teacher Program enabling him to explore the architectural masterpiece known as Falling water, designed by Frank Lloyd Wright. Scott received his education at Mercer County Community College and Trenton State College.

JAN WILSON - Partner
Jan Wilson was the 2002 New Jersey Teacher of the Year and the New Jersey Art Educator of the Year and the 2004 National Art Education Association Eastern Region Secondary Teacher of the Year. A strong advocate for the arts, Ms.Wilson is Visual and Performing Arts Department Chairperson at Nottingham High School. She is a member of New Jersey Governor McGreevey's Teacher Advisory Board, The Board of Trustees of Prosperity New Jersey, Scholastic Publications Professional Advisory Committee, and an editorial reviewer for Davis Art Publications. Jan is a frequent Professional Development Presenter for State and National Visual Arts conferences. This is Jan's second partnership with Grounds For Sculpture and the International Sculpture Center.

GARDEN CONSULTANTS

BRIAN CAREY - Landscape Designer
Brian Carey is co-founder of AC/BC Associates, which was founded in the 1970s in New York's newly emerging arts neighborhood of SoHo. The original idea was to gather a loose knit group of artists, designers, and craftsmen with expertise in sculpture, architecture, building, landscape, and gardens. AC/BS's early projects included galleries, loft conversions, sculpture projects, and restaurants, including 162 Spring Street,, the pioneer SoHo restaurant built and run by Brian Carey and partners. In 1988, the group entered and won a competition to develop an arts center at the former New Jersey State Fairgrounds. This project became Grounds For Sculpture. AC/BC Associates is also responsible for designing Grounds For Healing at Robert Wood Johnson Hospital in Hamilton. AC/BC has also consulted on projects in Belgium, Spain, Bulgaria, and England.

JAMES FORAN - Architect
A graduate of Drexel University and a registered architect in New Jersey and Pennsylvania as well as a licensed Professional Planner and Construction Official, Mr. Foran has more than 35 years experience in Architecture and the building construction industry, including 6 years experience as a Construction Official/Building Inspector. The former Program Coordinator of the Construction Code Enforcement Degree Program at Atlantic County Community College, Mr. Foran has been actively involved in training since 1979. He continues to be an adjunct faculty member teaching Construction Codes at Mercer County Community College and has most recently been selected by the New Jersey Department of Community Affairs and Rutgers University to instruct the mandatory residential framing and New Jersey Rehabilitation Sub code seminars for building inspectors, contractors, and architects. He is currently a partner in the architectural firm of Fett & Foran AIA Architects.

JOHN HOAGLAND - Landscape Contractor
John is a Landscape Contractor and owner of Hoagland's Nursery in Hamilton Township. John and his wife are the proud parents of three Hamilton Township students and graduates. John's landscaping business is both residential and commercial. He is a frequent parent volunteer in the Hamilton Schools. John has recently installed a Peace Garden at Sayen School, one of Hamilton Township's seventeen elementary schools.

HERB SENSI - Landscape Architect
Herb Sensi was introduced to Landscape Architecture and Rutgers during an Allentown High School Career Day; architecture became his major and Rutgers his alma mater. He graduated from Rutgers University in New Brunswick with a Bachelor of Science from the College of Agriculture and Environmental Science (now Cook College). Since graduation, Herb has worked at Kales Nursery in Princeton, first as their only landscape architect and now as the head of the design department. He has considerable management responsibilities at Kales in addition to the practice of landscape architecture. Herb holds a license from New Jersey for Landscape Architecture and is a member of the American Society of Landscape Architects. Herb is married to Nottingham High School's Library and Media Specialist, Karen Elgrim Sensi. In addition to his work as a Landscape Architect in Princeton, Herb has great interest in farming and nursery work. He and Karen own a small farm in Cream Ridge where they reside and grow specialty nursery stock.

SCULPTURE GARDEN MANUAL Additional Contributors

SAULA CUTTER - Contributing Writer
Saula is Curriculum Supervisor for Multicultural Studies, Affirmative Action, Desegregation, Peer Leadership, and Family and Consumer Science for the Hamilton Township Schools. Saula's love for sculpture has been a prime motivator for her participation as contributor to this manual. Saula conducts children and family workshops for Grounds For Sculpture.

AMY HOLMES - Editor
Amy Holmes has been a developmental editor for the past four years, first with Harcourt Publishers and currently with Elsevier. She began working in publishing after graduating from The College of New Jersey (formerly Trenton State College) with a Bachelor of Arts in Journalism. Amy is very happy to contribute her editing skills to this project.

From My Perspective is a resource for you, the reader to understand some of the issues that guided us in our decision-making. (Back to Top)

FROM MY PERSPECTIVE AS AN ARCHITECT (Back to Top)

1. List the first 5 considerations you should address when designing a sculpture garden.

  • How much space do you have to work with? How much money?
  • What is the configuration of the space? What are the constraints, opportunities?
  • What will be presented? How should it be presented?
  • Who will use the space?
  • How and when will it be used?

2. What is your single most important consideration? Why?
If it is indeed a garden for sculpture, I think that my main concern would be that the sculpture be presented in a manner that ensures it can be viewed (experienced) in its "best light", in a manner that allows the intent of the artist to be most evident.

3. How do you begin to conceptualize a project?
In a project such as this, I would begin by becoming familiar with the space and the goals of the client. I would then begin to think about how I would enjoy using the space both as a presenter and as a visitor.

4. What are the elements of a good design?
I think that "good design" is like beauty, in the eye of the beholder. While certain underlying principles, like meeting the client's goals and the budget, and promoting the life safety of the public are part of each design, whether or not the final solution is "good" is too subjective to define.

5. Do you have a standard process or approach to beginning a commission that works particularly well for you?
In addition to getting a feel for the client's tastes, thinking about the items listed in the answer to Question 1 above generally comes first. Almost all of the time, I attempt to meet the client's goals and expectations with a design I would feel comfortable in. Sometimes, the final design is not something that I would care to live in or occupy. But then again, that is why there are so many flavors of ice cream, right?

6. How do you establish a rapport with your client? How important is communication in this process?
I attempt to establish rapport over the course of the project. Developing an atmosphere of trust, mutual purpose, and even fun are important for a successful project. Communication between the architect and client is most important. Architects are not mind readers. While an architect can get a feel for the tastes of a client based upon what they have surrounded themselves with, he or she can only meet future goals and expectations that are expressed and understood.

7. How would someone locate a reputable architect in his/her community?
I would ask friends who have used architects for their recommendations. If none are available, the local phone book is a starting place to develop a list of people to call and interview. Request a list of previous clients that the architect has performed services for that is similar to your own project. Contact the references and discuss the architect. The State Board maintains a listing of any actions that may have been taken against an architect that result in them being disciplined by the Board.

8. How do you conduct a client interview?
To my way of thinking, the more informal the process, the better I like it. I usually begin an interview by asking the client what they are trying to accomplish with the project. Do they just need another bedroom, or office? Is the space that they are in not configured correctly for optimum use by their family, business? Do they not really know exactly what they want? After the above is determined, as best as it can be, I ask for their budgetary limits for the project. It is better to be realistic up front as to whether or not the project, as described, is within the realm of possibility. It is never good to get all of the construction documents prepared for a project, obtain bids from contractors, and then find out that it is not affordable. After the above, I try to get more specific with the requirements of each goal set, or need identified. The more fully a goal or need is explained or described, the better chance an architect has of successfully meeting it.

FROM MY PERSPECTIVE AS A PARENT (Back to Top)

1. List the first 5 tasks you should address as you consider designing a sculpture garden.

  • Evaluate/inventory the space in which the sculpture garden will be located, i.e., the physical parameters, the intended function, the relationship between the sculpture garden and its surroundings (classrooms, offices, hallways?)
  • Detail the resources available for creating a sculpture garden: financial, personnel, creative. i.e., what dollars, materials and people are available to create the space and the art to fill it
  • Undertake a "social inventory" to determine who the audience is for the sculpture garden and the related purpose of the space (will the audience stay the same over time; is the design/purpose adaptable to other potential uses; is it for students/teachers/parents/the public?)
  • Identify the decision makers (who designs the garden; who revises the designs; who selects the art; who has the final decision; what approvals are required and when).
  • Prepare a time line keeping in mind the limitations of the school year, the "life span" of the student body at a particular school ( 3 to 4 years), the layers of approval required for a public school project.

2. What is your single most important consideration?
The purpose. What is the "point", "the raison d'etre" of the project? Is to provide a pretty space for art? Is it to provide a functional purpose for students or for the public? Is the art to be student created or is there an opportunity to bring outside art in to the student body so that they may "live" with it for a time and experience art in other than a museum or temporary setting? The purpose in turn dictates the design, the cost the implementation.

3. Where do you begin?
You start with a space and a small group of interested parties (teachers and administrators) who can initially evaluate the space and the potential for the undertaking of such a project.

4. What are the elements of a good plan?
A good plan is practical: it acknowledges the limitations of time, people, and money; the need for both administrative oversight and public involvement; recognition that the plan must be long term in addressing maintenance, replacement, and reevaluation. A good plan is flexible: those involved and those overseeing must be accepting of change when original designs and ideas don't work and be open to revision. A good plan is creative in addressing: What is art? What is a garden? What is the purpose? What is the point?

5. Do you have a standard method or approach to beginning a project that works particularly well for you?
Two approaches:

  • The organized approach involves a clean note pad, a sharp No. 2 pencil, and lots and lots of lists.
  • The less organized approach involves jumping in blind, deliberately ignoring the burdens of the schedule ahead, hoping for the best, refusing to listen to the voices of doom and gloom, and praying for a snow day in order to sleep in late.

FROM MY PERSPECTIVE AS A STUDENT (Back to Top)

1. List the first 5 tasks you should address as you consider designing a sculpture garden.
" Look at what you have. Study the space you are going to be working with. Take measurements and learn the layout of the space so as to be able to use the space to its best ability.
" Come up with ideas and brainstorm. See what you would like to have in the garden so that you can come up with some kind of budget. Decide from the ideas what works and is logical for the space and what doesn't work. Make a list of possible items that you would like to have in the garden, find their prices, and decide whether it is worth putting in or whether it will only put a dent in the budget.
" Check your finances. See what kind of money you are willing to spend or how much you have. Decide whether you are going to fundraise or apply for grants. Decide what pieces are necessary to the garden, and eliminate the other unnecessary items. Look for low budget ideas, explore different kinds of material.
" Assign jobs and see who is going to be working on specific parts of the project. Label the different tasks that have to be done and assign them to a group. Decide who orders things, who builds things, who plans, and so on.
" Make a schedule. Give yourself a time limit on things, try to meet deadlines. Set aside time to work on the project. Let people know when you are going to be working on the garden.

2. What is your single most important consideration?
The idea is the main focus. Don't get so worked up over the budget and the items that you lose the whole reason you started in the first place. The idea! Make the final outcome what you want it to be. Make your idea a reality.

3. Where do you begin?
Do a rough sketch. Come up with a basic plan; see what will work in the space and what will just overcrowd it. Put all your ideas together to come up with one reasonable goal. Look for an affordable layout and items that will be in your price range.

4. What are the elements of a good plan?
When coming up with a good plan you need to know the space you have to work with, who the space is going to be used by, and what items will make the space the best it can be. Also have a strong idea and be willing to compromise.

5. Do you have a standard method or approach to beginning a project that works particularly well for you?
The first thing that I normally do is draw a rough copy of the garden's layout. Then I try to work my ideas in as best as possible to help me decide which things look best. This helps you to see what can be eliminated and what piece may be most important to your overall view.

FROM MY PERSPECTIVE AS A LANDSCAPE ARCHITECT

1. List the first 5 tasks you should address as you consider designing a sculpture garden.

  • Artistic program- number and type of sculptures to be displayed
  • Existing features of the garden- size, typography, drainage, neighboring features, access for pedestrians and vehicles both above and underground, climate, etc.
  • Construction budget
  • Maintenance budget and level of expertise available
  • Other uses- outdoor classroom, public events and school programs

2. What is your single most important consideration? Why?
The program - you need to know what the goal is of any project before anything else.

3. How do you begin to conceptualize a project?
Analyze the program as it relates to the site. Do specific uses require definite amounts of space? Does the site suggest an organization of the uses? Can various uses overlap?

4. What are the elements of a good plan?
A good design satisfies the program in a way that fits with the site and the budget.

5. Do you have a standard method or approach to beginning a project that works particularly well for you?
I work on a wide variety of projects but the basic design process works well in most cases. Learn about the site, your client, and the program.

6. How do you establish a rapport with your client? How important is communication in this process?
Ask lots of questions and show enthusiasm for the project. Communication is the key to establishing your design program.

7. How would someone locate a reputable architect in his/her community?
Contact New Jersey Chapter of the ASLA: 609-393-7500 or the New Jersey Nursery and Landscape Association: 609-291-7070.

FROM MY PERSPECTIVE AS A PRINCIPAL (Back to Top)

1. List the first 5 considerations you should address when designing a sculpture garden.

  • Space availability
  • Staff, student, community interest
  • Local support
  • District support
  • Educational vision

2. What is your single most important consideration? Why?
Staff, student, community interest: The overall school community needs to "buy into" the concept, as all are needed to plan, develop, and implement the project.

3. How do you begin to conceptualize a project?
A project of this magnitude begins with a vision as to how available space may best be utilized. It requires a "team" of people to research funding and to brainstorm outcomes from an educational perspective. A principal's enthusiasm must be "contagious" in order for the project to become a reality.

4. What are the elements of a good design?
The design should be responsive to the needs of the constituent groups. The layout of the space must be accessible to all and "user friendly."

5. Do you have a standard process or approach to beginning a project that works particularly well for you?
A project of this magnitude begins with a vision as to how available space may best be utilized. As with all school projects, we first determine the need.

6. How do you establish a rapport with your student designers? How important is communication in this process?
When students know that they are working to improve "their" school for current and future students, they become more committed to excellence. Effective communication is the key for any project that is undertaken whether small or on a larger scale.

7. How would someone locate quality professional assistance in his/her community?
I would first seek professional assistance from the parents and staff members in our school community. That may mean reaching out beyond our own building to others within our school district. Usually community members are more than willing to make recommendations based on their personal experience or to direct you to someone who can make that recommendation.

FROM MY PERSPECTIVE AS A MUSEUM CURATOR (Back to Top)

1. List the first 5 considerations you should address when designing a sculpture garden.

  • Where is the best possible site for the sculpture garden?
  • What is the purpose or mission of the sculpture garden?
  • What are potential uses for the space in addition to showing sculpture?
  • How can the design of the space be integrated with its surroundings?
  • Can you use any existing landscape or site features, or tie the garden in with existing programming?

2. What is your single most important consideration? Why?
Why you are creating a sculpture garden and, accordingly, how it will ultimately be used, is of utmost importance. After you determine this, the design component will naturally follow, as will your programming for the space.

3. How do you begin to conceptualize a project?
You've already determined why you want a sculpture garden and how it may be used, so the next step is to select a site. The site will dictate basic physical factors such as size, environment, and access. The next major issue is budget, and how you can accomplish your goals within it. There is much give and take between goals and budget factors.

4. What are the elements of a good design?
Good design is aesthetically pleasing and intriguing. It allows for flexible use of space, good traffic flow, and easy access. It also should be physically comfortable for the visitor.

5. Do you have a standard process or approach to beginning the process that works particularly well for you?
After the basic questions of why, how, and where are addressed, it's a good idea to assemble a team to work on the project. Primary participants should include the client (funder), a designer/architect, a curator, and a project manager. These people can consult with other specialists as needed such as the garden's ultimate constituents, event programmers, artists, etc.

6. How do you establish a rapport with your design staff? How important is communication in this process?
Everyone needs to be on the same page at the start of the project and have a common understanding of the project and its goals. The communication process is extremely important because it is only through this process that the goal will be achieved.

7. How would you assemble a quality design team?
You could work with people you are familiar with and/or whose projects you have experienced first-hand. You could also put out a call for proposals if you'd like to get a general sampling from those who might be interested in your project.

8. How do you interview potential design team members?
Look carefully at their resumes and past experience. Visit sites/projects they have done to get feel for their design and quality of work.

FROM MY PERSPECTIVE AS AN ART TEACHER (Back to Top)

1. List the first 5 considerations you should address when designing a sculpture garden.

  • Usage
  • Focal point
  • Accessibility
  • Unity of theme
  • Budget

2. What is your single most important consideration? Why?
The single most important consideration should be how to focus all of the above considerations into a design that reflects the needs of the entire school community.

3. How do you begin to conceptualize a project?
The best way to begin to conceptualize the project is to do a needs assessment. This can be done formally through a survey or informally through personal interviews with members of the various segments of the community.

4. What are the elements of a good design?
A good design should respond to the needs of the constituent groups, have a center of interest (focal point), provide a smooth transition from area to area, and reflect a variety of materials and textures that work together, to create a design that is visually balanced and stimulating.

5. Do you have a standard process or approach to beginning a project that works particularly well for you?
Each project is unique to itself. I generally begin by setting an overarching goal and a series of objectives that will enable me to accomplish the goal in measurable ways.

6. How do you establish a rapport with your student designers? How important is communication in this process?
Communication is everything. It is important to be very explicit in explaining the goals and objectives. Student designers need to feel that you are listening to them and that you value all of their ideas. Some of those ideas may be rejected later but they all deserve your undivided attention and consideration.

7. How would someone locate quality professional assistance in his/her community?
I would begin within the school community to ask for recommendations. In many cases you will find quality individuals within your school community, i.e. parents or the spouses of staff members. In the case of the Nottingham Sculpture Garden Project, three of our professional consultants are spouses of staff members or parents of students within our school community.

FROM MY PERSPECTIVE AS A DIRECTOR OF EDUCATION PROGRAMS (Back to Top)

1. List the first 5 considerations you should address when designing a sculpture garden.

  • Usage: How is the sculpture garden going to be used/appreciated, i.e. students, faculty, administration, school/community and community-at-large, etc.?
  • Resources: How will we fund the project's planning, implementation, and maintenance?
  • Education: Will there be an effort to incorporate programs, lectures, etc., involving students, faculty, and community-leaders/members/groups connecting their real-life learning experience with theoretical and abstract concerns involved in the project? How will it link with the curriculum and instruction, including subject areas within the high school curriculum? How will it be utilized by the school for social and community events?
  • Clear Vision and Leadership/ Logistics: Do all parties on board understand their delegated tasks and see how each step helps in achieving the goal? Knowing how specific tasks solve specific problems will help in recruiting members of the school and surrounding community.
  • Do not underestimate the enthusiasm and strength of the student body: My experience at Nottingham High School has reaffirmed what I already knew: students become inspired when working with dedicated adults, whether they are members of the school administration, faculty or business community, and the results can be overwhelmingly positive.

2. What is your single most important consideration? Why?
As Director of Education, my most important consideration must focus on the students' involvement and learning experiences. By not just including, but depending on students to bring the plan to fruition, in collaboration with the many people involved, this sole consideration will enable the students to confront and solve real-life challenges. Allowing them to feel the full satisfaction of a job accomplished and to see how art, math, and science (and other subject areas) theory have practical and professional applications in their everyday life.

3. How do you begin to conceptualize a project?
People are key in this process. Although the original notion of a project may be inspired by a student's enthusiasm, or it might stem from an established project (such as this one did in the initial High School Curriculum: Up Close: Focus on Contemporary Sculpture), the conception of any project must start with creativity, energy and initiative. Constantly bounce your ideas off of other people. Critique, revise, and clarify the concept until you can see it clearly and realistically. Contact professionals and colleagues and outline your project information, openly soliciting their advice and help.

Know the space you will transform. Where is it located? Who will use it most? What will it be used for? How large is it? Ask many questions to help you clarify what you want to accomplish.

Anticipate the budgetary needs of a project of this magnitude. Develop a plan that has three components: Plan A - simple and modest with opportunities for phasing in desired objectives; Plan B - more ambitious; and Plan C - complex. Ensure that each phase has clear financial goals and that a fundraising component is designed to reach these goals.

Most importantly, ensure that the responsibility and budget for the sculpture garden is "institutionalized" within the school budget. This means that there will be a line item for the sculpture garden every year into the future. This is critical since over the years, people will come and go (possibly even the original initiators, whether they are the arts teachers or the principal and/or members of the community and parents). It is essential that the sculpture garden governance transcends the existing key people and includes provision for others to take over.

Ensure that the "institutionalization" of the sculpture garden in the school budget is promoted and advocated to the School Board. These are the people who will vote on the budget and annual reports (preferably in the form of a special presentation before the School Board).

4. What are the elements of a good design?

  • User Friendly: Students will be using the garden for the most part. Realize they will traverse it going from class to class or strolling through after school, so allow for an easily negotiated walkway. Realize students will want to "hang out" in the space by socializing, studying, or appreciating a part of their school they can take pride in.
  • Aesthetic Presence: After all, creating a sculpture garden, aside from being a wonderful learning experience, is a way to make your school a more beautiful, inspiring, and serene environment. The design should incorporate various materials, but an overall harmony should be a main concern. All parts should work together to form a cohesive, and inviting whole.
  • Incorporation of Students' Works: Students' works should be part of the sculpture garden, along with the work of emerging and established artists.
  • Otherworldliness: The garden is something different than landscaping or decoration around the school. It should have the feeling of an oasis, a cultural treasure that inspires and intrigues.
  • Pick and Choose: Always consult with professionals in the field…take field trips to other sculpture gardens, including backyard or town square oasis. Explore how different sculpture gardens are designed and how they affect people. You will be better equipped to design a garden that best fits your audience and vision.
  • Honor the People Who Contributed: Identify a space where everyone who contributed can be acknowledged within the context of a good design. This may be a discreet plaque, or a small sign affixed to a bench or a sculpture or a tree; it may be bricks along a pathway with the name of someone who is being honored or remembered.

5. What do you see as your role in the design process?
My role in the design process is to stress the real life interaction of the students and other members of the school community with the garden. The design should be open and inviting and my goal will be to assist in any stage of creativity I can, but allow students to be the real creative force behind its design.

6. How would you incorporate your ideas into the design process?
Incorporating my ideas into the design process should be a passive activity if all is going well. I will suggest other ways of seeing things by providing visual evidence of other gardens through field trips, photos, etc., yet my main concern is not with critiquing the design, but encouraging the creative process of designing and helping others to reach consensus if there are different points of view.

7. How do you establish a rapport with the design staff? How important is communication throughout this process?
Clear communication, as in any job, is vital. The design of the sculpture garden should come from the students, but not without the input from their art teachers and other subject area teachers, experienced professionals, and administrators. So in order to create a rapport with the design staff, take them yourself to other sculpture parks. Sit and talk with them about design theory in a round table discussion with other teachers. Understand what they want and expect from the project and incorporate as many ideas as are practical. The more communication among the various constituents the better-tasks will be accomplished more efficiently and skillfully, with a greater sense of satisfaction and pride as a result, because everyone will feel involved. If this happens, everyone will feel a sense of pride and commitment to see the garden grow and flourish, not just in its initial stages but also within the school community for years to come.

CAREER PROFILES FOR SCULPTURE GARDEN RELATED CAREERS (Back to Top)

Career Profiles are included in order to maximize opportunities for students to explore career opportunities while working on the project.

ABOUT ARCHITECTURAL DRAWING TEACHERS (Back to Top)

1. What does an architectural drawing teachers do?
Have students visualize their thoughts and have them put their ideas on paper. Teach students different drawing techniques and be creative with their ideas. Teach the history of architecture, different architects and their styles.

2. Are there local, state, and national organizations and associations that support the work of architectural drawing teachers?
Not really, other than State Technology Teacher Associations, state and national teacher organizations.

3. How do you prepare to become an architectural drawing teacher? What courses should you take in high school, technical school, college, and graduate school?

  • Take architecture and engineering drawing courses in high school.
  • Take technology education courses in college.
  • It is a plus to have a background in architecture design and an associate's degree in architecture design.

4. Are there opportunities for students to gain practical experience while still in high school such as internships and volunteer positions?
Yes, there are annual design challenges from local colleges. Students can also get involved with a high school internship programs and do a volunteer internship with an architectural firm.

5. Are there areas of specialization for architectural drawing teachers?
There might not be an area of specialization but there would be areas of special interest, such as: landscape, construction, history, residential, etc.

ABOUT PRINCIPALS (Back to Top)

1. What does a principal do?
The principal uses leadership, supervisory, and administrative skills to maximize the educational potential of the students and staff. He or she also oversees the building facilities in order to maintain a productive, pleasant environment conducive to learning. The principal must be a key communicator with the public, including parents and other community members.

2. Are there local, state, and national organizations and associations that support the work of principals?
The main organization in support of the principal is the New Jersey-based Principals and Supervisors Association (NJPSA). The National Association of Secondary School Principals (NASSP) also promotes academic achievement and principal leadership.

3. How do you prepare to become a principal? What courses should you take in high school, technical school, college, graduate school?<
Specific college courses (undergraduate and/or graduate) are taken in order to receive a principal's certificate. These include supervision/evaluation, educational theory, and history of education.

4. Are there opportunities for students to gain practical experience while still in high school such as internships and volunteer positions?
Yes. Schools offer volunteer internship and work-study programs, as well as participation in programs offered through local vocational/technical schools.

5. Are there areas of specialization for principals?
Principals generally need a master's degree or higher, at least three years experience in public school administration and supervision, and at least five years of teaching experience (preferably at the same levels as the school). Alternatives to these qualifications are at the discretion of individual Boards of Education.

ABOUT DIRECTOR OF EDUCATION at the International Sculpture Center, a Visual Arts Organization (Back to Top)

1. What does a Director of Education of Education do?
The Director of Education Programs for the International Sculpture Center (ISC), a visual arts service organization:

  • designs, develops and coordinates education programs that promote knowledge and understanding of sculpture. Programs are developed for students and teachers from elementary through postgraduate levels.
  • works in cooperation with staff of Sculpture magazine and its Insider newsletter, which is published by the International Sculpture Center;
  • administers recognition programs and special events, including conference presentations and submission of material for the ISC Website at www.sculpture.org.
  • is the contact person at the organization who responds to questions about the field from artists, people or organizations who support sculpture (e.g., patrons, collectors, curators, art professionals, art dealers, educators, students, architects, museums, galleries, art schools, sculpture parks and gardens, etc.), and the general public;
  • administers the ISC Resource Center and its information services which includes extensive use of the ISC website and the Internet;
  • works in cooperation with the ISC staff in identifying funding sources and writing grant proposals to support program activities.

2. Are there local, state, and national organizations and associations that support the work of a Director of Education?
The art education community provides collegial support with professional development opportunities including publishing materials and convening conferences. These activities keep constituents abreast of developments in the field on state and national levels. These include on the state level, the Art Educators of New Jersey and on the national level, the National Art Education Association. Also, since the ISC is an international organization that develops programs on an international level, we seek out networking and professional opportunities with the International Society for Education Through Art. On a local level, Grounds For Sculpture and Nottingham High School in Hamilton, New Jersey provide support for collaborative projects including the School Sculpture Garden Project, and Grounds For Sculpture is also a partner in the ISC's Annual Outstanding Student Achievement in Contemporary Sculpture Award Program.

Other statewide organizations include: Alliance for Arts Education/NJ, ArtPride New Jersey, New Jersey State Council on the Arts, New Jersey State Department of Education, New Jersey State Teen Arts, etc.

On a national level, the National Endowment for the Arts provides support for the ISC's publication, Sculpture, and the Americans for the Arts-, provides information about arts advocacy.

3. How do you prepare to become a Director of Education? What courses should you take in high school, technical school, college, graduate school?
Recommendations for preparation to become a Director of Educational Programs for an arts organization include:A strong and rigorous academic course of study which includes courses in the arts and social sciences with special emphasis on (in priority order): English, Communication Arts (Small Group Discussion, Planning and Organizing Events), Art, Art History, Public Speaking, Sociology, Grant Writing, Fund Raising, Public Relations, Marketing, and Business, Computer Science (software programs) including use of the Internet, Social Studies, Math, American History, Economics, etc.

4. Are there opportunities for students to gain practical experience while still in high school such as internships and volunteer positions?
The International Sculpture Center at its headquarters in Hamilton, New Jersey provides internship and volunteer positions for high school students. Students are encouraged to contact International Sculpture Center, 14 Fairgrounds Road, Suite B, Hamilton, NJ 08619 or call 609-689-1051, ext. 107; Fax: 609-689-1061.
Additionally, it may be possible to design a special project that is tailored to the needs of the student to be done as an independent study and developed from his/her home base. All internships and volunteer positions are developed in cooperation with the International Sculpture Center and the student's school and faculty representative.

5. Are there areas of specialization for Director of Education?
Areas of specialization include:

  • Program Management and Strategic Planning: ability to prepare a work plan, time lines and budget materials for short and long-term activities; ability to administer and implement program; ability to stay within budget parameters.
  • Strong written language skills: ability to write grant proposals, project reports, curriculum materials, articles for publications, newsletters, press releases, presentations for workshops and conferences, promotional materials, correspondence, etc. strong oral language skills: ability to make presentations at meetings with individuals, in small groups; at seminars, conferences and before larger audiences of up to 150 people and beyond.
  • Strong inter-personal skills: ability to work well with different individuals and groups; be flexible
  • Personal characteristics: intelligent, creative, resourceful, knowledgeable, dedicated, dependable, hard-working, flexible, sense of humor.

ABOUT ART TEACHERS (Back to Top)

1. What does an art teacher do?
An art teacher designs curriculum and provides instruction that is aligned with a set of national and state standards. These standards guide us in deciding what students should know about art. We provide instruction in art history and appreciation, aesthetics, critique, and art making. We design art exhibits and are a teaching resource for school wide projects. Very often we work with other teachers to help students learn that art is connected to all of the other disciplines.

2. Are there local, state, and national organizations and associations that support the work of art teachers?
There are national organizations such as The National Education Association, American Federation of Teachers, and National Art Education Association. Each state has a statewide teachers organization such as the New Jersey Education Association. States also have state arts organizations such as Art Educators of New Jersey. In addition some states have organizations that support both the visual and performing arts. One such organization in New Jersey is the Alliance for Arts Education. These organizations provide both professional development opportunities for teachers and they act as advocates for the arts.

3. How do you prepare to become an art teacher? What courses should you take in high school, technical school, college, and graduate school?
Each state has specific requirements for certification as an art teacher. You must complete an undergraduate program in Art Education, successfully complete student teaching and pass the required PRAXIS exam. Some states accept an alternate route to certification by majoring in art, passing the PRAXIS and taking additional courses and mentoring without student teaching.

4. Are there opportunities for students to gain practical experience while still in high school such as internships and volunteer positions?
Students can work as volunteer interns in schools, after school programs, day care, and camps.

5. Are there areas of specialization for art teachers?
Some certificates allow you to teach art K-12, others may focus on a particular grade level i.e. elementary, middle, or high school. Each state its own unique certification requirements.

ABOUT MUSEUM CURATORS (Back to Top)

1. What does a museum curator do?
A curator organizes exhibitions and permanent collection displays, manages the collection, researches and recommends works of art for the collection, works with education staff in the development of related programs and publications, develops and oversees exhibition and project budgets, represents the museum to academic communities and the public, and works with artists on special projects.

2. Are there local, state, and national organizations and associations that support the work of museum curators?
American Association of Museums
1575 Eye Street NW, Suite 400
Washington, DC 20005
(202)289-1818
(202)289-6578 fax
www.aam-us.org

3. How do you prepare to become a museum curator? What courses should you take in high school, technical school, college, graduate school?
Usually a master's degree with a specialization in art history or an advanced degree in museum studies is required. Courses in addition to art history and museum studies that should be taken are those related to research, writing and speaking skills; computer skills and collections database programs; and basic fine art courses would also be helpful to gain a more thorough understanding of the field.

4. Are there opportunities for students to gain practical experience while still in high school such as internships and volunteer positions?
Many museums and art organizations offer both internships and volunteer opportunities. You could contact ones in your local community, or consult either of the following sources: Aviso is a monthly newsletter published by AAM (above) that lists internship opportunities, and Sculpture magazine lists them as well in their Insider supplement.

5. Are there areas of specialization for museum curators?
Museum curators can specialize in any of the different fields represented in the
history of art, in contemporary art, or in studio art.

ABOUT LANDSCAPE ARCHITECTS (Back to Top)

1. What does a landscape architect do?
Guide and design the use of land and natural resources. The profession has many aspects and typically LA's specialize in areas such as conservation, parks, urban design, land planning and conservation and resource work, construction of specific landscapes such as parks, office parks, schools, residences and etc.

2. Are there local, state and national organizations and associations that support the work of landscape architects?
Yes. The American Society of Landscape Architects (ASLA), the New Jersey Chapter (NJASLA)

3. How do you prepare to become a landscape architect? What courses should you take in high school, technical school, college, graduate school?
In high school- academic level math, computer science, biology and chemistry
In college- attend one that has an accredited LA major.

4. Are these opportunities for students to gain practical experience while still in high school such as internships and volunteer positions?
Possibly- contact NJASLA. Also practical experience in construction or landscaping can be helpful- contact New Jersey chapter Nursery & Landscape Assoc (NJNLA) in Bordentown.

5. Are these areas of specialization for landscape architects?
See answer #1

PRINT RESOURCES (Back to Top)

ART HISTORY SURVEYS

  • Ashton, Dore. American Art Since 1945. New York: Oxford University Press, 1982.
  • Avgikos, Jan. "The Shape of Art at the End of the Century." Sculpture, April 1998.
  • Bohm-Duchen, Monica and Janet Cook. Understanding Modern Art. Tulsa, AZ: EDC Publishing, 1988.
  • Causey, Andrew. Sculpture Since 1945. Oxford: Oxford Universtiy Press, 1998.
  • Fineberg, Jonathan. Art Since 1940: Strategies of Being. New York: Harry N. Abrams, Inc., 1995.
  • Heslewood, Juliet. The History of Western Sculpture: A Young Person's Guide. Austin, TX: Raintree Steck-Vaughn Publishers, 1996.
  • Janson, H.W. and Janson, Anthony F. History of Art for Young People. New York: Harry N. Abrams, Inc., 1997, fifth edition.
  • Parmesani, Loredana. Art of the Twentieth Century: Movements, Theories, Schools, and Tendencies 1900 - 2000. New York: Abbeville Publishing, 2000.
  • Read, Herbert. Modern Sculpture. New York: Thames and Hudson, Inc., 1999. Reprint of 1985 edition.
  • Sandler, Irving. Art of the Postmodern Era: From the Late 1960s to the Early 1990s. New York: Harper Collins Publishers, Inc., 1996.
  • Senie, Harriet. Contemporary Public Sculpture: Tradition, Transformation, and Controversy. New York: Oxford University Press, 1992.

ART EDUCATION

  • Armstrong, Carmen L. Designing Assessment in Art. National Art Education Association, 1994.
  • Brody, Harry S. The Role of Imagery in Learning. Los Angeles: The Getty Center for Education in the Arts, 1987.
  • Chapman, Laura H. Adventures in Art. Worcester, MA: Davis Publications, 1998.
  • Dunn, Phillip. Promoting School Art: A Practical Approach. Reston, VA: National Art Education Association, 1987.
  • Finn, David. How to Look at Sculpture. New York: Harry N. Abrams, 1989.
  • Gezari, Temima. Art and Education. Rocky Point, NY: Studio Workshop Press, 2001.
  • Gezari, Temima. Now that I'm Ninety-five: Thoughts on Art and the Child. Rocky Point, NY: Studio Workshop Press, 2001.
  • Greenberg, Jan and Sandra Jordan. The Sculptor's Eye: Looking at Contemporary American Art. New York: Delacorte Press, 1993.
  • Hobbs, Jack and Salome, Richard. The Visual Experience. Worcester, MA: Davis Publications, 1995.
  • Katter, Eldon and Stewart, Marilyn G. Art and the Human Experience; Art: A Personal Journey; Art: A Global Pursuit; Art: A Community Connection. Worcester, MA: Davis Publications, 2000.
  • National Art Education Association. Essentials of a Quality Art Program. Reston, VA: National Art Education Association, 1981.
  • National Art Education Association. Purposes, Principles, and Standards for School Art Programs. Reston, VA: NAEA, 1982.
  • National Art Education Association. Safety in the Artroom. Reston, VA: NAEA, 1986.
  • Pekarik, Andrew. Sculpture Behind the Scenes. New York: Hyperion Books for Children, 1992.
  • Roukes, Nicholas. Sculpture in Paper. Worcester, MA: Davis Publications.
  • Save Outdoor Sculpture!, Inside Outdoor Sculpture, Washington, DC: Heritage Preservation and the Smithsonian American Art Museum, 2001. Turner, Robyn Montana, Portfolios, Austin, TX: Barrett Kendall Publishing, Ltd., 1998.
  • Vieth, Ken. From the Ordinary to the Extraordinary. Worcester, MA: Davis Publications, 1999.
  • Waldman, Diane. Collage, Assemblage, and the Found Object. New York: Harry N. Abrams, 1992.
  • Williams, Arthur. Sculpture: Technique, Form, Content. Worcester, MA: Davis Pubications, 1995.
  • Wolf, D. P., and Pistone, N. Taking Full Measure: Rethinking Assessment Through the Arts. New York: The College Board, 1995.
  • Wolfe, George. 3-D Wizardry: Design in Papier-Mache, Plaster and Foam. Worcester, MA: Davis Publications, 1995.

AESTHETICS AND ART CRITICISM

  • Atkins, Robert. Artspeak: A Guide to Contemporary Ideas, Movements, and Buzzwords. New York: Abbeville Press, 1990.
  • Corzo, Miguel Angel, ed. Mortality Immortality: The Legacy of 20th Century Art. Los Angeles: Getty Trust Publications, 1999.
  • Cromer, Jim. History, Point of View Series: Criticism; Theory and Practice of Art Criticism in Art Education. Reston, VA: National Art Education Association, 1990.
  • Kostman, Lynne and Gilman, Benedicte, eds. Empathy, Form, and Space. Santa Monica, CA: Getty Center for the History of Art and Humanities, 1994.
  • Moore, Ronald, ed. Aesthetics for Young People. Reston, VA: National Art Education,1995, reprint of articles from Journal of Aesthetic Education vol. 28, no. 3, fall 1994.
  • Parsons, Michael J. How We Understand Art: A Cognitive Development Account of Aesthetic Experience. Cambridge/New York: Cambridge University Press, 1987.
  • Siene, Harriet and Webster, Sally, eds. Critical Issues in Public Art. New York: Icon Editions, 1992.

CONTEMPORARY SCULPTURE IN OUTDOOR VENUES

  • Bach, Penny Balkin. Public Art in Philadelphia. Philadelphia: Temple University Press, 1992.
  • Barrie, Brooke. Contemporary Outdoor Sculpture. Gloucester, MA: Rockport Publishers, Inc., 1999.
  • Beardsley, John. A Landscape for Modern Sculpture: Storm King Art Center. New York: Cross River Press, Ltd., 1996.
  • Fletcher, Valerie J. A Garden for Art: Outdoor Sculpture at the Hirshborn Museum. Washington, DC: Smithsonian Institution in association with Thames and Hudson, 1998.
  • Kelleher, Patrick J. Living with Modern Sculpture: The John B. Putnam, Jr. Memorial Collection, Princeton University. Princeton: The Art Museum, Princeton University, 1982.
  • McCarthy, Jane and Epstein, Laurily K. A Guide to Sculpture Parks and Gardens in America. New York: Michael Kesend Publishing Ltd., 1996.
  • Lawrence, Sidney. Music in Stone: Great Sculpture Gardens of the World. New York: Scala Books, 1984.
  • Pepsico Inc. Twentieth-Century Sculpture Postcards from the Donald M. Kendall Sculpture Gardens at Pepsico. New York: Dover Publications, 1992.
  • Russell, John J. and Spencer, Thomas S., eds. Art on Campus: The College Art Association's Official Guide to American College and University Art Museums and Exhibition Galleries. Monkton, MD: Friar's Lantern, Inc., 2000.
  • Taylor, Gordon. Gardens of Obsession. London: Weidenfeld and Nicolson,1999.
  • Teague, Edward H. Sculpture Gardens: A Bibliography of Periodical Literature. Monticello, IL: Vance Bibliographies, 1985.

INFORMATION ABOUT SCULPTURE

  • Bassett, Jane and Fogelman, Peggy. Looking at European Sculpture: A Guide to Technical Terms. Los Angeles: J. Paul Getty Museum, 1997.
  • Blum, Bessie, ed. Sculpture: An illustrated historical overview. Cambridge, MA: Barron's Educational Series, Inc., 1996.
  • Jones, Lois Swan. Art Information and the Internet: How to Find It, How to Use It. Phoenix: Oryx Press, 1999.
  • Mills, John. The Encyclopedia of Sculpture Techniques. New York: Watson-Guptill, 1990.
  • Russell, John J. and Spencer, Thomas S., eds. Art on Campus: The College Art Association's Official Guide to American College and University Art Museum and Exhibition Galleries. Monkton, MD: Friar's Lantern, Inc., 2000.
  • Sheppard, Beverly, Ed. Building Museum & School Partnerships. Washington, D.C.: American Association of Museum, 1995.
  • Turner, Jane, ed. The Dictionary of Art. New York: Grove Dictionaries, Inc. 1996.
  • Yenawine, Philip. Key Art Terms for Beginners. New York: Harry N. Abrams, Inc., Publishers, 1995.

NEW JERSEY PRINT RESOURCES

  • Bzdak, Meredith Arms. Public Sculpture in New Jersey: Monuments to Collective Identity. New Brunswick NJ: Rutgers University Press, 1999.
  • Kelleher, Patrick J. Living with Modern Sculpture: The John B. Putnam, Jr. Memorial Collection. Princeton University. Princeton: The Art Museum, Princeton University, 1982.

PERIODICALS

  • American Artist
  • Art Education Magazine, National Art Education Association
  • ArtNEWS
  • Art in America, Brandt Art Publications, Inc.
  • Art Index, directory of articles and periodicals
  • Arts and Activities, Publishers Development Corporation
  • Design for Art Education
  • Journal of Aesthetic Education
  • Journal of Aesthetics and Art Criticism
  • Journal of Museum Education, Museum Education Roundtable
  • Public Art Review, Forecast Public Artworks
  • Update, SOS! Save Outdoor Sculpture!, a joint project of Heritage Preservation and the Smithsonian American Art Museum
  • Studies in Art Education
  • Scholastic Art, Scholastic, Inc.
  • School Arts, Davis Publications
  • Sculpture, International Sculpture Center

ARTICLES

  • Bayliss, Sarah. "Skirmish on the Point." Art News. 99.8 (2000): 51.
  • Becherer, Joseph Antenucci. "The Frederik Meijer Gardens and Sculpture Park." Sculpture Review. 52.1 (2003): 16-23.
  • Barrie, Brooke. "Sculpture Moves Outdoors." Sculpture. 18.7 (1999):26-31.
  • Dunwiddie, Charlotte. "Sculpture Enhances Gardens." Sculpture Review. 35.2 (1985): 16-23.
  • Johnson, Jory. "Siting Sculpture: From Upscale Residences to City Parks, Landscape Architects are Bringing Sculpture into their Landscapes." Landscape Architecture. 89.4 (1999): 66-69, 94-95.
  • Leccese, Michael. "The Death and Life of American Plazas." Urban Land. 57.11 (1998): 78-85, 104.
  • Treib, Marc. "Sculpture and Garden: A Historical Overview." Design Quarterly. No. 141 (1988): 44-58.
  • Winterbottom, Daniel. "Community Space Re-evaluated." Places. 13.3 (2000): 40-47.

VIDEOS (Back to Top)

  • Clearview/eav - 1-800-253-2788
  • Crystal Productions - 1-800-255-8629
  • Davis Publications - 1-800-533-2847
  • Films for the Humanities & Sciences - 1-800-257-5126
  • Nasco Arts & Crafts - 1-800-558-9595
  • National Gallery of Art, Extension Programs - www.nga.gov
  • Pyramid Media - 1-800-421-2304
  • Sax Arts & Crafts - 1-800-558-6696
  • Teacher's Video Company - 1-800-262-8837
  • Universal Color Slide Company - 1-800-326-1367

ART RESOURCES WEB SITES (Back to Top)

LANDSCAPE ARCHITECTURE

FUNDRAISING AND DEVELOPMENT

GENERAL CAREER AWARENESS

SCULPTOR CAREER AWARENESS

MUSEUM ADMINISTRATION

ARTS ADMINISTRATION/EDUCATION CAREER AWARENESS

ENGINEER CAREER AWARENESS

ARCHITECT CAREER AWARENESS

  • www.acsa-arch.org/ - Association of Collegiate Schools of Architecture, a non-profit organization that helps students and current architects concerning education, exhibition, conferences, etc.
  • www.aia.org - The American Institute of Architects, provides various information from continuing education to job opportunities.
  • www.architectsusa.com/ - Architects USA, provides links to schools with architecture programs, job listings, etc.
  • www.architects-online.org/ - Architects Online, a web based job and information service for architectural and building design professionals, provides links for jobs and education.
  • www.careersinarchitecture.net/ - Careers In Architecture, in depth information on how to start of and continue a successful career in architecture.

CURATOR CAREER AWARENESS

PR AND MARKETING CAREER AWARENESS

PR AND MARKETING RESOURCES

NEW JERSEY RESOURCES (Back to Top)

NEW JERSEY CONTEMPORARY SCULPTURE ON COLLEGE AND UNIVERSITY CAMPUSES

Rutgers-Camden Center for the Arts
Stedman Gallery
3rd and Pearl Streets
Camden, NJ 08102-1403
Tel: 856-225-6350, Fax: 856-225-6597
http://www.rcca.camden.rutgers.edu
Email: steel@camden.rutgers.edu
Notes: one piece of outdoor sculpture
Gallery hours: Monday to Wednesday, 10am-4pm; Thursday, 10am-8pm; Friday & Saturday, 10am-4pm.

Union County College Tomasulo Gallery
1033 Springfield Ave
Cranford, NJ 07016-1599
Tel: 908-709-7155, Fax: 908-709-0527
http://www.ucc.edu/tomasulo_art_gallery.shtml
Gallery hours: Monday, 1pm-4pm; Tuesday to Thursday, 1pm-4pm and 6pm-9pm; Saturday, 1pm-4pm.

Rowan University - Galleries
Route 322
Glassboro, NJ 08028
Tel: 856-256-4520
http://www.rowan.edu
Gallery hours: Wilson Art Gallery, Monday to Friday, 9am-5pm.
Westby Art Gallery, Tuesday, 10am-4pm; Wednesday, 10am-6:30pm; Thursday to Friday, 10am-4pm.
Student Art Gallery, Monday to Friday, 9am-4pm.

Fairleigh Dickinson University
Edward Williams Gallery
150 Kotte Place
Hackensack, NJ 07601
Tel: 201-692-2449
http://arts.fdu.edu/gallery.shtml
Gallery hours: Monday to Friday, 9am-9pm; Saturday, 9am-2pm.

New Jersey City University
Lemmerman and Courtney Galleries
2039 Kennedy Blvd
Jersey City, NJ 07305
Tel: 201-200-3246, Fax: 201-200-3224
http://www.njcu.edu
Sculpture on campus: John Van Alstine, Reconsideration Sisyphus, 1994, 4' x 13.5' x 8', stone and steel. Herb Rosenberg, Time as a Constant, Uncertainty, 1998, 28" x 18.5" x 35', wood and stainless steel. Donna DeBlasis, David Donner, Mike Fedor, William King, Kenneth Meinken, Susan Solecki, 11 October, 1978, stainless steel. Notes: Please contact gallery director for a tour. There are no special requirements for visiting the campus, but it is recommended that advance notice be provided. Gallery hours: Monday to Friday, 11am-4pm.

Rider University
University Art Gallery
Student Center
2083 Lawrenceville Road
Lawrenceville, NJ 08648
Tel: 609-895-5588
http://www.rider.edu
Notes: No outdoor sculpture at this time, although they would like to develop a collection.