Laumeier Sculpture Park - History

History

The park was founded in 1968 by a property grant in the will of Matilda C. Laumeier, and was originally intended as a memorial to her deceased husband, Henry H. Laumeier. The will gave their land and country house to the county, and specified that would be used for passive purposes (e.g., no sport fields). The park was 76 acres (0.31 km2) at its opening in 1975, but did not attract many visitors until a year later, when St. Louis sculptor Ernest Trova donated about 40 pieces of his work to the park. It soon became a popular tourist attraction, and received an additional 20 acres (0.081 km2) from the Friends of Laumeier. The additional land was mostly woods and is for site-specific sculptures, including the Old Orchard Swimming Pool, now also transformed into a large sculpture.

In July 2009, it was announced that Marilu Knode would replace Glen Gentele, who had accepted a position at another museum, as the executive director of the park. She began her tenure in September 2009. Knode was the former head of research at Future Arts Research at Arizona State University. Gentele, who had been the park's director since 2001, replaced Beej Nierengarten-Smith, who had resigned due to a longtime controversy about her management of the park.

Read more about this topic:  Laumeier Sculpture Park

Famous quotes containing the word history:

    The history of progress is written in the blood of men and women who have dared to espouse an unpopular cause, as, for instance, the black man’s right to his body, or woman’s right to her soul.
    Emma Goldman (1869–1940)

    No one can understand Paris and its history who does not understand that its fierceness is the balance and justification of its frivolity. It is called a city of pleasure; but it may also very specially be called a city of pain. The crown of roses is also a crown of thorns. Its people are too prone to hurt others, but quite ready also to hurt themselves. They are martyrs for religion, they are martyrs for irreligion; they are even martyrs for immorality.
    Gilbert Keith Chesterton (1874–1936)

    The history of modern art is also the history of the progressive loss of art’s audience. Art has increasingly become the concern of the artist and the bafflement of the public.
    Henry Geldzahler (1935–1994)