Press & Media

“Familiar artwork installed in sculpture garden, just in time for gala,” The Advocate

When New Orleans Museum of Art guests celebrate the 10th anniversary of the Sydney and Walda Besthoff Sculpture Garden Friday night, Lin Emery’s work, “Wave,” will be on proud display in its new setting. The kinetic work by the nationally recognized New Orleans sculptor became an instant icon when it was installed in a reflecting basin in front of the museum in time for the 1988 Republican National Convention. Recently, the need to rebuild the 100-year-old basin meant moving the sculpture requiring museum staff to work with Emery to determine the perfect site for it.

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“Roy Lichtenstein sculpture may replace Lin Emery sculpture at NOMA,” The Times-Picayune

The glinting silver sculpture by Crescent City artist Lin Emery that has stood in the reflecting pool in front of the New Orleans Museum of Art for years has been removed to make room for something new. Word among the city’s art scene insiders is that a newly acquired sculpture by pop master Roy Lichtenstein is slated for the premier spot.

In an email statement, NOMA director Susan Taylor acknowledged that the museum hopes to install “another major work by another major artist by the beginning of 2014,” but she did not confirm the identity of the sculptor.”

“The Lin Emery sculpture was recently removed from the pool in front of the museum in order to commence renovation and repair of the pool,” Taylor wrote. “We are delighted to be able to move her work into the Besthoff Sculpture Garden where, after conservation, it will be placed along the lagoon in visual proximity to the George Rickey and Kenneth Snelson sculptures – a fitting and permanent context for her work. Lin will also be honored at Love in the Garden on September 27 and, later in the fall, with an exhibition celebrating her work.”

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“A Range of Motion,” NOLA Defender

The New Orleans-based kinetic sculptor conjures up the mechanized hum of another world through her theatrical plug-in pieces at the Ogden Museum of Southern Art in an exhibition that includes everything from roving robots to the clang and thump of motorized music. While these installations are certainly electric, they’re decidedly different than Emery’s wind and water-driven creations that might be more familiar to the city’s residents.

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“Lin Emery: Unique Forms of Continuity in Space and Time,” Sculpture Magazine

Originality has an inside and an outside. Understanding the nature of originality in sculpture requires an understanding of both—of the inside, what it is in the sculptor’s life that created her artistic personality, and the outside, what sets her work apart from that of other artists of similar inclination. In Lin Emery’s case, there is a strong connection between these two sides of originality: the personal dynamic of her artistic evolution explains her place in the history of kinetic sculpture. There is a consistent element of autonomous discovery in Emery’s artistic life, as well as a highly personal mix of philosophical and artistic influences. In some ways, her work constitutes a logical part of the tradition of kinetic sculpture that descends from Constructivism. But her sensitivity to natural forms and modes of movement sets her work apart and enriches that tradition.

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“War and Leaves: Sculpture by Lin Emery”, Gambit Weekly

War and Leaves: Sculpture by Lin Emery by D. Eric Bookhardt, GAMBIT WEEKLY It all started with a spoon. Years ago, a silver spoon poised precariously on the rim of a tea cup began dancing unexpectedly as a thin stream of water cascaded onto its smooth, sleek surfaces from the faucet above. Lin Emery was… 

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