Sculptures Sites

Two granite sculptures by Beniamino Bufano decorate the San Francisco State University campus. The "Head of St. Francis" stands in the main quadrangle near the walkway between the Business and Student Centers. The 4' sculpture of a male torso is in the courtyard between the HHS and Business buildings.

"Abstract full-length portrait of Louis Pasteur. The red granite figure wears a cape and belt of stainless steel. The cape is decorated with twenty-two stainless steel round buttons. The sculpture stands on a concrete pedestal base." "The sculpture was created as a WPA (Works Progress Administration) project, and the school paid $300 for materials. It was originally in a glade by the school's art building, but around 1959 was knocked down by vandals and the figure's nose was damaged. The sculpture was reinstalled in a landscaped area by the school's Science building. In September 1969, the artist attempted to remove the...

In 1938, the Civilian Conservation Corps developed the Saxman Totem Park. The program was part of a larger U.S. Forest Service effort to employ Alaska Natives and conserve totems and Native cultural assets. Many of the poles that the CCC recovered from abandoned villages were found in an advanced state deterioration, which made conservation difficult. While restoration was the preferred approach, the CCC often opted for recarving, or partial recarving, if the pole could not be salvaged. The park was listed on the National Register of Historic Places in 1979. The master carver at Saxman was Charlie Brown. The park was designed along...

The Civilian Conservation Corps (CCC) relocated the Dogfish Pole, also called the Chief Ebbits Pole, from a village in Southeast Alaska to the newly established Saxman Totem Park. The totem was erected in 1892 in memory of Chief Ebbits, head chief of the Tongass, at Old Tongass Village. The CCC set up a totem restoration project in 1938 and Tlingit carvers enrolled in the CCC lead the work. In the 1961 volume, The Wolf and the Raven, anthropologist Viola Garfield and architect Linn Forrest describe the visual characteristics of the Dogfish Pole: “The contrast in appearance between an unpainted and a painted pole was...

The Civilian Conservation Corps (CCC) relocated the Giant Rock Oyster Pole from a village in Southeast Alaska to the newly established Saxman Totem Park. The CCC set up a totem restoration project in 1938 and Tlingit carvers enrolled in the CCC lead the work. In the 1961 volume, The Wolf and the Raven, anthropologist Viola Garfield and architect Linn Forrest describe the visual characteristics of the Giant Rock Oyster Pole: "On the Giant Rock Oyster pole are carved the emblems of four related house groups of the Nexadi clan, descendants of Eagle Claw House, whose crest appears at the top of the pole. The human...

The Civilian Conservation Corps (CCC) relocated the Kats and His Bear Wife totem from a village in Southeast Alaska to the newly established Saxman Totem Park. The CCC set up a totem restoration project in 1938 and Tlingit carvers enrolled in the CCC lead the work. In the 1961 volume, The Wolf and the Raven, anthropologist Viola Garfield and architect Linn Forrest describe the visual characteristics of the Kats and His Bear Wife totem: "The carving of Kats and His Bear Wife was set against the center of the front of a tribal house, framing the entrance. It was used only on special occasions, as...

The Moon Raven Pole & Sun Raven Pole are two memorial poles that flank the stairs that lead up to the Clan House at the end of the Saxman Totem Park. The Sun Raven Pole is a memorial for Reynold Denny Sr., the Chief of Saxman Village. The Moon Raven Pole is a memorial for Martha Shields, a notable elder of the Village of Saxman.

The Civilian Conservation Corps (CCC) relocated the Pointing Figure totem from a village in Southeast Alaska to the newly established Saxman Totem Park. The CCC set up a totem restoration project in 1938 and Tlingit carvers enrolled in the CCC lead the work. In the 1961 volume, The Wolf and the Raven, anthropologist Viola Garfield and architect Linn Forrest describe the visual characteristics of the Pointing Figure totem: "The Pointing Figure totem was made for a group of brothers belonging to Raven Bone House of the Raven clan and set up sometime between 1890 and 1900 to mark the grave of their sister on Pennock...

In 1938, the Civilian Conservation Corps (CCC) established the Saxman Totem Park and set up a totem restoration project. Tlingit carvers enrolled in the CCC lead the restoration process. The CCC relocated the Raven and Frog Totem pole from a village in Southeast Alaska to the new park. In the 1961 volume, The Wolf and the Raven, anthropologist Viola Garfield and architect Linn Forrest describe the visual characteristics of the Raven and Frog Totem pole: "The Raven poised for flight atop this mortuary column represents the crest of Raven clansman and also symbolizes two Raven myths. The first is the Deluge myth, and the second...

The Civilian Conservation Corps (CCC) relocated the Raven Pole, from a village in Southeast Alaska to the newly established Saxman Totem Park. CCC set up a totem restoration project in 1938 and Tlingit carvers enrolled in the CCC lead the work. In the 1961 volume, The Wolf and the Raven, anthropologist Viola Garfield and architect Linn Forrest describe the visual characteristics of the Raven Pole: "Raven on the top of the Raven Totem pole is carved with outspread wings ornamented with feather and wing-tip designs, and with breast feathers forming the hair or head dress of the human figure below. This is an arrangement similar...

The Civilian Conservation Corps (CCC) relocated the Raven Posts from a village in Southeast Alaska to the newly established Saxman Totem Park. The CCC set up a totem restoration project in 1938 and Tlingit carvers enrolled in the CCC lead the work. The photographic material published here by the Living New Deal was provided by courtesy of Linn A. Forrest (1905-1986), a practicing architect who photographed the totem poles at the time of their restoration, between 1939 and 1941. Forrest oversaw the joint program of the Forest Service and the Civilian Conservation Corps to recruit Alaska native carvers in the restoration and recarving of totem poles...

The Civilian Conservation Corps (CCC) relocated the Secretary of State Pole (Seaward Pole) from a village in Southeast Alaska to the newly established Saxman Totem Park. The CCC set up a totem restoration project in 1938 and Tlingit carvers enrolled in the CCC lead the work. In the 1961 volume, The Wolf and the Raven, anthropologist Viola Garfield and architect Linn Forrest describe the visual characteristics of the Secretary of State Pole: "Standing near the carving of President Lincoln in Tongass Village was the figure of his Secretary of State, William H. Seward. Seward, perhaps more than any other one person, was responsible for the purchase...

In the 1961 volume, The Wolf and the Raven, anthropologist Viola Garfield and architect Linn Forrest describe the visual characteristics of the totem pole: “Three adventures of Raven, the Culture Hero, were drawn upon for the carvings of the Sun and Raven short mortuary totem. At the top is raven without spread wings. Around his head is the sun halo. On his breast are three, figures, the children of the Sun whom Raven visited during the Deluge. The raven tracks painted on the face of the girl in the center are traditional for women of the Raven phratry. Raven's wings are decorated...

The Civilian Conservation Corps (CCC) relocated the Beaver Posts totems from a village in Southeast Alaska to the newly established Saxman Totem Park. The CCC set up a totem restoration project in 1938 under the supervision of architect Linn A. Forrest. Tlingit carvers enrolled in the CCC carried out the restoration and carving work. In the 1961 volume, The Wolf and the Raven, anthropologist Viola Garfield and architect Linn Forrest describe the visual characteristics of the Beaver Posts totems: "The Beaver house post story belongs to the Basket Bay Tlingit now living at Angoon. A woman from the old Basket Bay village married a Haida and went to...

In the 1961 volume, The Wolf and the Raven, anthropologist Viola Garfield and architect Linn Forrest describe the visual characteristics of the totem pole: "The Klawak Blackfish Fin carving symbolizes a mythical monster of the sea about which the south eastern Alaska Indians tell many tales. It has the head and body of a bear and the fins of the blackfish or killer whale. In the carving the dorsal fin is represented as a slender shaft, rounded at the top. The pole stood in front of a house in the Tongass village on Cat Island. The story and carving belong to...

In the 1961 volume, The Wolf and the Raven, anthropologist Viola Garfield and architect Linn Forrest describe the visual characteristics of the totem pole: "Two adventures of the ancestors of people of Blackfish House of the Wolf phratry are illustrated on this carving. The main section symbolizes the blackfish, or killer whale, from which the group takes its name. The long shaft above the body is the dorsal fin. Originally this was undecorated, but when the copy was made the owners granted permission to add the wolf face and the circle. These symbolize a wooden hat owned by the group, on...

Viola Garfield and Linn Forrest describe the visual characteristics of the Frog Tree totem pole in their 1961 volume, The Wolf and the Raven: “The Frog Tree (or Drifting Log) carving was brought from Cape Fox, where it had been dedicated to the memory of a woman of the Kiksetti clan. Her name was Two (Frogs) on a Drifting Log, hence the name of the pole. On the original carving a frog was shown emerging from the center of the upright support, to symbolize the woman emerging from the lake when her relatives came for her. George Grinnell, who was in the village...

The Civilian Conservation Corps (CCC) relocated the Grizzly Bear Post, from a village in Southeast Alaska to the newly established Saxman Totem Park. CCC set up a totem restoration project in 1938 and Tlingit carvers enrolled in the CCC lead the work. In the 1961 volume, The Wolf and the Raven, anthropologist Viola Garfield and architect Linn Forrest describe the visual characteristics of the Grizzly Bear Post: "The Grizzly Bear post (also identified as Kats and His Bear Wife) belongs to people of Kats House of the Tongass tribe. It was approximately one hundred years old when brought from Village Island to Saxman in...

The Civilian Conservation Corps (CCC) established the Saxman Totem Park in 1938 and set up a totem restoration project. Tlingit carvers enrolled in the CCC lead the restoration process. The CCC relocated the Lincoln Totem pole from a village in Southeast Alaska to the new park. Viola Garfield and Linn Forrest describe the visual characteristics of the Lincoln Totem pole in their 1961 volume, The Wolf and the Raven: "The Lincoln sculpture was in poor condition when the pole was brought to Saxman in 1938. A copy was made for the totem park, and the original was sent to the Territorial Museum in Juneau. Time...

The Civilian Conservation Corps (CCC) relocated the Loon Tree totem from a village in Southeast Alaska to the newly established Saxman Totem Park. At Saxman, the Tlingit craftsmen created a copy of the original totem. The CCC set up a totem restoration project in 1938 under the supervision of architect Linn A. Forrest. Tlingit carvers enrolled in the CCC carried out the restoration and carving work. In the 1961 volume, The Wolf and the Raven, anthropologist Viola Garfield and architect Linn Forrest describe the visual characteristics of the Loon Tree totem: "The original Loon Tree Totem was brought from Cape Fox Village and copied at the Saxman...

The Civilian Conservation Corps (CCC) relocated the Tired Wolf House Posts totems from a village in Southeast Alaska to the newly established Saxman Totem Park. The CCC set up a totem restoration project in 1938 under the supervision of architect Linn A. Forrest. Tlingit carvers enrolled in the CCC carried out the restoration and carving work. In the 1961 volume, The Wolf and the Raven, anthropologist Viola Garfield and architect Linn Forrest describe the visual characteristics of the Tired Wolf House Posts: "The Tired-Wolf house posts were carved on Village Island and installed in a house on Kanagunut Island belonging to the people of Forest Island House....

The Civilian Conservation Corps (CCC) relocated the Owl Memorial Pole from a village in Southeast Alaska, to the newly established Saxman Totem Park. The CCC set up a totem restoration project in 1938 and Tlingit carvers enrolled in the CCC lead the work. In the 1961 volume, The Wolf and the Raven, anthropologist Viola Garfield and architect Linn Forrest describe the visual characteristics of the Owl Memorial Pole: "The owl at the top of the pole was the main crest of the medicine man, or shaman, in whose memory the carving was dedicated. The owl crest is explained by the legend of a...

This 5' high black diorite sculpture "The Aztec" was carved by Donal Hord and his team in 1936, a project that took a year to complete.  The one-ton block of stone they sculpted was quarried locally from Escondido. Previously in front of Heppner Hall, it was moved from its original location to make way for the San Diego Trolley Project. It currently stands in the University's Prospective Student Center. From the San Diego Travel Tips website: "In 1936, San Diego sculptor Donal Hord was commissioned to carve a statue for the campus of San Diego State University. He completed the work,...

The Civilian Conservation Corps (CCC) carved a copy of the original Frog/Raven Pole during a restoration program that lasted between 1938 and 1941. The restoration was part of a larger U.S. Forest Service program focused on the conservation of totems and Native cultural assets. Many of the poles that the CCC recovered were found in an advanced state deterioration, which made conservation difficult. While restoration was the preferred approach, the CCC opted for recarving, or partial recarving, if the pole could not be salvaged. The head carver at Sitka was George Benson. The copy of Frog/Raven Pole was carved by George Benson...

The Civilian Conservation Corps (CCC) carved a copy of the original Gaanax.ádi/Raven Crest Pole during a restoration program that lasted between 1938 and 1941. The pole was donated in 1903 and brought to Sitka from Tuxekan. The restoration was part of a larger U.S. Forest Service program focused on the conservation of totems and Native cultural assets. Many of the poles that the CCC recovered were found in an advanced state deterioration, which made conservation difficult. While restoration was the preferred approach, the CCC opted for recarving, or partial recarving, if the pole could not be salvaged. The head carver at Sitka was...

The Civilian Conservation Corps (CCC) carved a copy of the original Saanaheit Pole during a restoration program that lasted between 1938 and 1941. The Saanaheit Pole was brought to Sitka from Old Kasaan. The restoration was part of a larger U.S. Forest Service program focused on the conservation of totems and Native cultural assets. Many of the poles that the CCC recovered were found in an advanced state deterioration, which made conservation difficult. While restoration was the preferred approach, the CCC opted for recarving, or partial recarving, if the pole could not be salvaged. The head carver at Sitka was George Benson...

The Civilian Conservation Corps (CCC) carved a copy of the Mosquito Legend Pole during a restoration program that lasted between 1938 and 1941. The restoration was part of a larger U.S. Forest Service program focused on the conservation of totems and Native cultural assets. Many of the poles that the CCC recovered were found in an advanced state deterioration, which made conservation difficult. While restoration was the preferred approach, the CCC opted for recarving, or partial recarving, if the pole could not be salvaged. The head carver at Sitka was George Benson. This mosquito pole currently at Sitka is a replica of...

The Civilian Conservation Corps (CCC) carved a copy of the original Trader Legend Pole during a restoration program that lasted between 1938 and 1941. The restoration was part of a larger U.S. Forest Service program focused on the conservation of totems and Native cultural assets. Many of the poles that the CCC recovered were found in an advanced state deterioration, which made conservation difficult. While restoration was the preferred approach, the CCC opted for recarving, or partial recarving, if the pole could not be salvaged. The head carver at Sitka was George Benson (Lkeináa). Before the CCC program, many totems had been left...

The Civilian Conservation Corps (CCC) carved a copy of the original Lakich’inei Pole during a restoration program that lasted between 1938 and 1941. The restoration was part of a larger U.S. Forest Service program focused on the conservation of totems and Native cultural assets. Many of the poles that the CCC recovered were found in an advanced state deterioration, which made conservation difficult. While restoration was the preferred approach, the CCC opted for recarving, or partial recarving, if the pole could not be salvaged. The head carver at Sitka was George Benson. The pole was restored between 1992 and 1993. Before the CCC program, many...

The Civilian Conservation Corps (CCC) restored and recarved totem poles at Sitka, as part of a restoration program that lasted between 1938 and 1941. The program was part of a larger U.S. Forest Service effort to employ Alaska Natives and conserve totems and Native cultural assets. Many of the poles that the CCC recovered from abandoned villages were found in an advanced state deterioration, which made conservation difficult. While restoration was the preferred approach, the CCC opted for recarving, or partial recarving, if the pole could not be salvaged. The head carver at Sitka was George Benson (Lkeináa). Some of the...

The park was designed along a main axis—Totem Road—with totem poles on each side, and a rectangular area enclosed with logs carved with frog heads. Leading to the square, there are two stairways marked by totem poles on each side. U.S. Forest Service Architect Linn A. Forrest designed the sixteen frogs breakers. In 1938, the Civilian Conservation Corps developed the Saxman Totem Park. The program was part of a larger U.S. Forest Service effort to employ Alaska Natives and conserve totems and Native cultural assets. Many of the poles that the CCC recovered from abandoned villages were found in an advanced state...

The Smithsonian American Art Museum holds hundreds of works from the New Deal’s art programs:  Public Works of Art Project, Section of Fine Arts, Treasury Relief Art Project, and Federal Art Project. These artworks are mostly in storage, but at any time there may be several New Deal paintings and sculptures on display in special exhibitions.   Much of the Smithsonian's New Deal collection can found found online, too.  This search generated 520 results: https://collections.si.edu/search/results.htm?fq=data_source%3A%22Smithsonian+American+Art+Museum%22&q=federal+art+project&gfq=CSILP_1

The Smithsonian American Art Museum contains hundreds of New Deal artworks.  Some are on permanent display, many are not. Of those, some are brought out for specific exhibitions from time to time. One permanent display on New Deal art features Eugenie Gershoy's sculptures, "Goddess of Fertility" and New Deal artists at work.  There is a nice plaque acknowledging the Public Works of Art Project and the Federal Arts Project and the thousands of artworks produced under those New Deal arts programs.

Carl Mose created two sculptures depicting "Communication" and "Land" for the (now former) Salina courthouse and post office.  

Four striking limestone sculptures were created by Walker Hancock as part of a Federal Art Project Commission. The work, “Courage, Vision, Sacrifice, Loyalty” was installed around the entrances to St. Louis's historic Soldiers' Memorial in 1939. UMSL.edu: "Walker Hancock, a St. Louis native, created the beautiful statues that adorn both entrances to the Soldiers Memorial. Hancock attended Washington Universtiy, where he studied under Victor Holm. He was not the first choice to create the statues, but when the first artist could not fulfill the obligation, Hancock was next in line. The statues were created during the heart of the depression and a New...

Artist Jason Herron sculpted "Erda" (1936) for South Pasadena High School in South Pasadena, CA, with Federal Arts Project (FAP) funds. The sculpture was painted terracotta. Los Angeles Public Library lists the sculpture as missing. According to a 1937 article in the Los Angeles School Journal, "Jason Herron is a young lady whose art study has included work under Merrill Gage at USC, Chamberlain in Pasadena, and one year of study at various places in Europe" (Wells, p. 25). Herron's extant New Deal–funded works in Los Angeles, CA, include the Power of Water Fountain (1935) at Lafayette Park and a sculpture at...

This 14-foot-tall stainless steel and granite sculpture of Dr. Sun Yat-Sen, founder of the Chinese Republic, was sculpted by Beniamino Bufano and completed in 1937 with FAP funds.  "Revered as the 'Father of Modern China,' Sun Yat-sen visited San Francisco in the early 1900s and often relaxed in St. Mary's Square." (Guide.)  

Located in Straus Park on the Upper West Side is "a bronze 1913 statue by American artist Augustus Lukeman of a nymph gazing over a calm expanse of water in memory of Ida and Isidor Straus, a United States congressman and co-owner of Macy’s, who perished on the RMS Titanic" (wikipedia). In the 1930s, it was restored with federal funding under Karl Gruppe, "chief sculptor of the Monument Restoration Project of the New York City Parks Department, from 1934 to 1937." The program was initially supported by federal funding from the Public Works of Art Project (Lowrey, 2008), and later by...

This WPA sculpture "Bear and Head" by Beniamino Bufano was created in 1935 and placed here in 1945. It measures 5'4" long and 3' wide, and is carved from black granite.

This cast-metal portrait bust of Admiral Albert Gleaves by Belle Kinney was funded by the Treasury Section of Fine Arts. It was originally installed in the old Nashville U.S. Courthouse & Post Office building, but now resides at the Tennessee State Capitol.