KAWS briefly worked for Disney before starting his career as an independent artist / JONTY WILDE / COURTESY THE ARTIST AND YSP
Halfway through its four-month run, the KAWS exhibition at Yorkshire Sculpture Park (YSP) had already attracted more than 100,000 visitors, the rolling English countryside a surprising backdrop to the pathos in his looming cartoon creations.
The New Jersey-born, Brooklyn-based artist – whose slouching, expressive, Mickey-esque sculptures have been seen in Hong Kong, London and Amsterdam in recent years – is presenting 20 works, including imposing sculptures cast in wood, bronze or fibreglass and a number of specifically commissioned canvases in his first UK exhibition.
“I was interested in having my larger sculptures in dialogue with each other and with the landscape,” KAWS told Cool Hunting in a recent interview. “There are so many different elements at play when you view a work outdoors and especially in a setting like Yorkshire Sculpture Park where the weather and sky can so drastically change from one hour to the next.”
The collaboration with YSP came about after curator Claire Lilley worked with KAWS to exhibit the work SMALL LIE in Regent’s Park, London in 2014.
“The way in which people responded to the sculpture in Regent’s Park was very moving. That’s when the conversation started about creating an exhibition at YSP,” Lilley told Attractions Management.
“KAWS is an artist who is serious about art in the public realm and the notion of communicating with diverse audiences is very important to us, so in that sense he’s a great match,” she says. “Some of the big outdoor sculptures had been seen in public spaces around the world, but they’ve never been seen like this – in such an intense group and in a landscape where a kind of dialogue can take place between them.”
“It’s interesting that people are getting the spectacle, scale and the sheer quality of the work, but they’re also getting the deeper messages about adolescence and transitioning to adulthood, of feeling outside things, and hiding behind masks. Many of our visitors are moved by the sculptures and I have grown incredibly fond of them,” Lilley says.
KAWS’ works on display include 6-metre-high-plus (20-foot) wood sculptures like SMALL LIE, ALONG THE WAY and GOOD INTENTIONS, the fibreglass pink rabbit sculpture ACCOMPLICE and COMPANION (RESTING PLACE) with its peeled-back skin revealing neon organs inside.
Installation of the huge sculptures posed its own set of hurdles, with tonnes of concrete being poured for placements as far back as November, so it had time to set.
“SMALL LIE, the largest of the sculptures, took around a week to install, basically starting with the feet and working upwards,” says Lilley. “We used a number of cranes and a lot of trackway. Installing six large and quite complicated sculptures outdoors in January was quite a challenge – especially when you’re trying to protect the grass around them.
Afterwards, the landscape team moved in to re-turf and re-surface the road. It was hard work but great theatre as you can see from images posted on Instagram.”
KAWS at YSP runs until 12 June 2016.
Read more from this issue of Attractions Management magazine
View contents of Attractions Management 2016 issue 2
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KAWS briefly worked for Disney before starting his career as an independent artist / JONTY WILDE / COURTESY THE ARTIST AND YSP
Halfway through its four-month run, the KAWS exhibition at Yorkshire Sculpture Park (YSP) had already attracted more than 100,000 visitors, the rolling English countryside a surprising backdrop to the pathos in his looming cartoon creations.
The New Jersey-born, Brooklyn-based artist – whose slouching, expressive, Mickey-esque sculptures have been seen in Hong Kong, London and Amsterdam in recent years – is presenting 20 works, including imposing sculptures cast in wood, bronze or fibreglass and a number of specifically commissioned canvases in his first UK exhibition.
“I was interested in having my larger sculptures in dialogue with each other and with the landscape,” KAWS told Cool Hunting in a recent interview. “There are so many different elements at play when you view a work outdoors and especially in a setting like Yorkshire Sculpture Park where the weather and sky can so drastically change from one hour to the next.”
The collaboration with YSP came about after curator Claire Lilley worked with KAWS to exhibit the work SMALL LIE in Regent’s Park, London in 2014.
“The way in which people responded to the sculpture in Regent’s Park was very moving. That’s when the conversation started about creating an exhibition at YSP,” Lilley told Attractions Management.
“KAWS is an artist who is serious about art in the public realm and the notion of communicating with diverse audiences is very important to us, so in that sense he’s a great match,” she says. “Some of the big outdoor sculptures had been seen in public spaces around the world, but they’ve never been seen like this – in such an intense group and in a landscape where a kind of dialogue can take place between them.”
“It’s interesting that people are getting the spectacle, scale and the sheer quality of the work, but they’re also getting the deeper messages about adolescence and transitioning to adulthood, of feeling outside things, and hiding behind masks. Many of our visitors are moved by the sculptures and I have grown incredibly fond of them,” Lilley says.
KAWS’ works on display include 6-metre-high-plus (20-foot) wood sculptures like SMALL LIE, ALONG THE WAY and GOOD INTENTIONS, the fibreglass pink rabbit sculpture ACCOMPLICE and COMPANION (RESTING PLACE) with its peeled-back skin revealing neon organs inside.
Installation of the huge sculptures posed its own set of hurdles, with tonnes of concrete being poured for placements as far back as November, so it had time to set.
“SMALL LIE, the largest of the sculptures, took around a week to install, basically starting with the feet and working upwards,” says Lilley. “We used a number of cranes and a lot of trackway. Installing six large and quite complicated sculptures outdoors in January was quite a challenge – especially when you’re trying to protect the grass around them.
Afterwards, the landscape team moved in to re-turf and re-surface the road. It was hard work but great theatre as you can see from images posted on Instagram.”
KAWS at YSP runs until 12 June 2016.
Read more from this issue of Attractions Management magazine
View contents of Attractions Management 2016 issue 2
Promotional feature: IDEATTACK
IDEATTACK’s new project in Hainan, China,
introduces the storytelling elements of a
theme park to the oceanarium concept
Science Museums: Shaping Tomorrow
Brazil’s Museum of Tomorrow uses
constantly updating, real-time digital
collection to communicate with visitors.
We met members of the team
Promotional feature: EAS
This year, the Euro Attractions Show is
coming to the Spanish city of Barcelona
Disney Special: Shanghai Disney: The Best Yet?
As Disney opens its first resort in mainland
China, our special feature examines its
business model, its potential impact and
the modernisation of the Disney castle park
New Openings: Space Inversion
A new contemporary museum district
in the Netherlands – Museumplein
Limburg – features a science centre,
a design museum and an inverted
planetarium. We take a closer look
Promotional feature: Polin
Polin’s patented technologies, extensive R&D and creative flair have made it one of the world’s leading waterpark design and manufacturing companies
Waterparks: Taking the Plunge
Waterpark suppliers constantly develop
their product offers. We dive into the
world of waterpark R&D to find out more
Zoos & Aquariums: The Long Game
UK safari park Longleat is undertaking a
decade-long upgrade that starts by going
back to its roots. As the attraction turns
50, CEO Bob Montgomery explains how
he’s bridging the past and the future
OMA has completed a major transformation of New York's New Museum, creating a larger
cultural campus that combines expanded exhibition spaces with learning, performance,
hospitality and public programming.
A US$50 million (£44.2 million, €51.2 million) transformation of Chicago's historic McCormick
Mansion has created a new destination that combines live magic, immersive theatre, dining and
private membership under one roof.
The Montana Historical Society has officially celebrated the opening of its new Montana
Heritage
Center, a US$107 million (£79 million, €92 million) destination that combines immersive
storytelling with cutting-edge audiovisual technology to bring the sta
San Antonio Zoo has reported a US$283 million economic impact for 2025, following a decade-
long transformation programme that has seen almost US$200 million invested into the Texas
attraction.
Plans for the AU$180 million redevelopment of Reef HQ Aquarium in Townsville, Australia, are
progressing, with the project set to transform the attraction into a global centre for reef
education and conservation.
Abu Dhabi-based investment firm Mubadala Capital has made a binding, fully financed
€1 billion
offer to acquire Pierre and Vacances SA, the European holiday resort operator behind the
continental European Center Parcs business.
Disney has reaffirmed its commitment to investing US$30 billion in its US parks and cruise
business by 2033, using new America250 celebrations to underline the role its attractions play
in supporting jobs, tourism and economic growth.
Expo 2030 Riyadh is being planned as a permanent visitor destination, with organisers
confirming the six-million-square-metre site will become a Global Village after the event closes.
The owner of one of Australia's best-known waterparks has acquired a major competitor,
creating a new attractions business spanning two of the country's largest visitor destinations.
The Toverland theme park in the Netherlands has announced a €98m expansion programme
that will add a resort, new attractions and staff facilities as it pursues plans to become a multi-
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