Sculpture Garden EXHIBIT
submissions
Margot Stage
margotstage.com
978-621-9345
Sweet Autumn stream
Like many art-makers, I am often excited by what I see around me and stimulated to create something from that visual experience. Inspiration for this project came from two sources. First, seeing huge piles of white shrink-wrap crammed into a dumpster at the Eastham transfer station — material used by boat owners to protect their vessels during the winter and then discarded for recycling in the spring. Second, seeing my garden’s newly planted Sweet Autumn clematis in full bloom, a cascade of white flowers streaming along a fence. These visual experiences became married in my mind and led to this idea for an outdoor art installation.
I envision this work sprawling along fencing to the right side of the Commons building where this cascade of bright white flowers will catch the eye, and invite people deeper into the Sculpture Garden. A combination of zip ties and/or cable anchors will be used to secure plastic backing (which holds the white flowers) to the chainlink and wooden fences. I’m proposing about 25 feet in length and varying heights as the installation evolves.
Given that all materials are plastic, their durability is assured. The installation will not impact egress or public safety.
Roe Osborn
https://capecreative.com/sculpture/sculpture-installations/
203-232-9575
Roe Osborn Sculpture, Photography, Visual Artist
The 204 Cultural Arts in Harwich
The Renaissance world of
roe osborn
Years ago, as a young art dealer in Manhattan, I saw two art exhibitions: Robert Ryman's first showing of his almost-all- white paintings and Eve Hesse's "Hang-ups" (curtains). Twice I was a witness to art historical events and at the time I didn't know it.
Now, as a working artist myself with different knowledge, I find these artists and others of the "Dia generation" (Michael Kimmelman's label for minimalists and conceptualists, many of whose work is on view at the Dia, Beacon, N.Y.) most relevant for today. Their work is about optics, light, architecture, and a unique philosophical approach to seeing (thinking). I am also investigating the string constructions of Fred Sandback (1943-2003), another artist of that era, appreciating his exploration of volume and space. These artists and their peers have informed my own approach to sculpture.
What I hope to offer is work that is a little more on the questioning side -- to make viewers really look closely and think about the images and their interactions, much like what I experience when visiting the Dia.
Susan Rhatigan
518.410.6540
Unknown
artist
Currently in front yard in the East End. Purchased a while back from a University who did not have the information of the original artist
Iron sculptures
Tristan
https://www.tristangovignon.com/index
617.921.4915
Tristan Govignon
So for sculpture. I can do “The Travelers” aka mirror finished stainless and bronze ‘suitcases’. I can tell you more about them over a call if you want. I can do the pen without the current base and different “ink splashes aka fab drippy cast aluminum vs glass” and I could maybe do a ver$ion of this piece “Unity” with the rods and circle ⭕️ middle. All mirror stainless but this piece would have the rods spiraling up and rising. And all sitting on one rod touching the ground.
James Ryan
j.ryan.1778@icloud.com
617.980.1683
James Ryan
Proposal
Install a sculpture I made in March 2025. The piece is made out of found objects, recycled wood and has a kinetic element. It could go on the right side of the building by bikes or walkway garden. I could install it in May to coincide with the Outsider Fest events and leave it installed until the end of August. I'm asking for $600 to recoup my material costs and the time to install and uninstall. I will attach images in the zip file.
Male Ego
29”x62”
Wood, concrete, glass
15lbs
Statement of durability, security, and safety
This sculpture does have pointed elements. The edges of the wood are sanded down so they are not sharp and can be activated by spinning the star. The piece will live off the main walkways to leave the through way clear. It has a wood panel base with a concrete form on top to weigh the sculpture down. I will have metal stakes to put through the corners on the wood base to keep it anchored down.
Billy Rene
la madrid
Proposal
How to Apply
Eligibility
All artists, minimum age 18 years, are welcome to apply. A second program for young artists will be announced separately.
Proposal Guidelines
Proposals can be for existing or new work. Each artist may submit up to three proposals. However, only one proposal from an artist can be accepted. Each proposal must include a project description outlining dimensions, weight, title, medium, date of completion, a statement of conceptual intent, and the preferred dates of installation. Each proposal should include up to 3 images of a completed work or concept sketches/models of a new work to be constructed. The Commons reserves the right to refuse any delivered work that is not completed as proposed.
All proposals should include a cover letter outlining the artist’s contact information (name, address, email, phone). Please include an artist statement. Additional support materials are not required but may be requested at a later date.
Each proposal must include statements regarding how the sculpture will be secured, the durability of the sculpture, and how it will not negatively impact public egress or safety.
Submission Guidelines
Textual information should be in PDF format and images should be formatted as high quality jpegs. Please also include an image index text. All application materials should be submitted via email as one zipped folder to create@commonsptown.org. Total folder size should not exceed 20MB.
Design Considerations
The site of installation is a highly trafficked, street-facing courtyard at 46 Bradford Street in Provincetown, MA. It is totally open to the elements and can be prone to harsh weather conditions including high winds. When necessary, sculptures can be sited on concrete pads.
Note: For the duration of exhibition (excluding travel to and from our site), all works will be insured and indemnified by Provincetown Commons. Also, installation sites will have no access to electricity, independent lighting, etc.
Selection Criteria
Submittal of all required application materials as outlined in the RFP
Attention to context: architectural, historical, geographical, and cultural
Originality: creativity and uniqueness of proposed artwork concept for this project
Maintainability: structural and surface soundness, durability and
resistance to vandalism, weathering, excessive maintenance, repair costs
Appropriateness for placement on a street-facing, park-like site
Feasibility: artist's proven track record/ability to complete the
work on time and within the budget.
Selection Committee
The selection committee will be made up of Provincetown Commons board members and other creative professionals.
Installation Support
Limited installation support is available to artists selected to show work (budget not to exceed $1,000). This stipend is to cover the cost of installation and de-installation. Payment will be made upon the successful installation of the proposed sculpture. Artists are required to submit a basic budget to determine the proposal’s feasibility. If the budget is greater than the $1000 stipend, it is the artist’s responsibility to provide additional funding.
Application Checklist
The following should be in pdf/jpeg formats bundled into a .zip folder.
Cover letter including contact information
Proposal(s) with images and basic budgets
Image slide list
Statement of durability, security, and safety
Artist statement
Artist’s resume
Contact
Please direct all questions via email to create@commonsptown.org.
Accepted Artists’ Responsibilities
Provide 150–300-word artist’s statement and digital image for print/online brochure and publicity.
• Return signed loan agreement (contract)
• Deliver and install sculpture
• De-install and remove sculpture
*Non-Discrimination Policy: The Provincetown Commons upholds a commitment to promoting equal opportunities for all, without regard to race, sex, gender, color, age, religion, national origin, ancestry, marital status, sexual orientation, gender identity or any other basis proscribed by law.