29. Jaume Plensa, <i>Tolerance</i> (2011), stainless steel and stone.
Buffalo Bayou Park, Allen Parkway and Montrose Blvd.
39. Jaume Plensa, <i>Tolerance</i> (2011), stainless steel and stone.
Buffalo Bayou Park, Allen Parkway and Montrose Blvd.
48. Margo Sawyer, <i>Synchronicity of Color</i> (2008), aluminum
Discovery Green
58. Margo Sawyer, <i>Synchronicity of Color</i> (2008), aluminum
Discovery Green
67. Peter Forakis, <i>Tower of the Cheyenne</i> (1972), Cor-ten steel
University of Houston campus
77. Peter Forakis, <i>Tower of the Cheyenne</i> (1972), Cor-ten steel
University of Houston campus
86. James Surls, <i>Points of View</i> (1991), wood and steel
Market Square Park
96. James Surls, <i>Points of View</i> (1991), wood and steel
Market Square Park
104. Michael Heizer, <i>"45°, 90°, 180°</i> (1984), pink Texas granite
Rice University, Engineering Quad
115. Tony Cragg, <i>In Minds</i> (2001–2002), bronze and stainless steel
Hobby Center for the Performing Arts
125. Tony Cragg, <i>In Minds</i> (2001–2002), bronze and stainless steel
Hobby Center for the Performing Arts
134. Michael Heizer, <i>"45°, 90°, 180°</i> (1984), pink Texas granite
Rice University, Engineering Quad
143. Joan Miró, <i>Personage and Birds</i> (1982), steel and cast-bronze
Travis St. and Capitol St., downtown Houston
153. Joan Miró, <i>Personage and Birds</i> (1982), steel and cast-bronze
Travis St. and Capitol St., downtown Houston
162. Mel Chin, <i>Manilla Palm</i> (1978)
Contemporary Arts Museum Houston campus
172. Mel Chin, <i>Manilla Palm</i> (1978)
Contemporary Arts Museum Houston campus
181. Barnett Newman, <i>Broken Obelisk (Dedicated to Martin Luther King, Jr.)</i> (1967), Cor-ten steel
Rothko Chapel campus
191. Barnett Newman, <i>Broken Obelisk (Dedicated to Martin Luther King, Jr.)</i> (1967), Cor-ten steel
Rothko Chapel campus
2010. David Adickes, <i>The Virtuoso</i>
Prairie St. and Smith St., downtown Houston
Dave Barry once defined public art as “art that is purchased by experts who are not spending their own personal money.” But despite the occasional opprobrium it invites—Richard Serra’s scary-looking Tilted Arc was famously removed from New York City’s Federal Plaza after public complaints—there seems to be no slackening of demand for showpiece art, from either the public or private sector.
For the purpose of this list, we define a public sculpture as a piece that is free and accessible 24 hours a day—disqualifying the MFAH’s sculpture garden and most indoor art. Did we leave your favorite sculpture off the list? Disagree with one of our choices? Leave a comment on the slideshow or tweet your suggestions to @houstoniamag!
