“Magis,” meaning “more,” is a Latin term at the heart of Fordham University’s Jesuit identity. But what does it have to do with sculpture? After visiting Lincoln Center’s new outdoor sculpture garden, I was able to see the interconnectedness of the Jesuit identity and art.
The Exhibition features 11 sculptures from globally recognized artists, including Bruno Lucchesi, Jane DeDecker and Bjørn Skaarup. Statues are located in the plaza garden facing Columbus Avenue, with some pieces carefully placed across campus. The display was “made possible thanks to the generosity of Fordham trustee Kim Bepler, Hon. L.H.D., in collaboration with Cavalier Galleries” and will be open to the public through spring 2025. Hours are from 7 a.m. to 9 p.m. on Monday through Friday and 9 a.m. to 9 p.m. on Saturday and Sunday.
Upon arriving, the first piece I saw was Skaarup’s statue “Hippo Ballerina” which stands in front of Fordham Law School. It is a 15-foot-tall statue made of 2.5 tons of copper. “My animal sculptures are a celebration of life and nature and its many intriguing shapes and creatures… Each animal is thoroughly culturalized; representing human allegories or use manmade tools, all placed in peculiar and surreal encounters between nature and culture,” said Skaarup in an article published by PR Newswire. Having traveled all over the city, it is a unique opportunity to have such an iconic piece of New York City artwork on campus.
After walking out of the Leon Lowenstein Center, I was surprised to see the amount of beautiful statues that filled the plaza. It was far more than I imagined. The installation consisted mainly of elements of the human experience and natural world. I was especially intrigued by the many animal statues scattered throughout the walk. Featured were Skaarup’s “The Giraffe,” “The Frog,” “The Majestic Lion” and “The Ostrich.” All made of bronze, these animals were in no way ordinary; they all showed animals in a creative and whimsical way. For example, “The Majestic Lion” was riding a rocking horse wearing a crown, and “The Giraffe” was teetering on stilts.
Women, particularly mothers, are also key components of this exhibition. I immediately noticed Gross’ “Mother Playing” which highlights a mother and daughter holding hands. For context, Gross is “known for his hardwood carvings, figurative sculptures, and graphic work, [and] is also considered one of the pioneers of the direct carving method.” Although it is made of bronze, the angles and sharp lines make it appear to be carved out of wood. Its uniqueness and abstractness fascinated me, and starkly contrasted Luchessi’s “After Shopping” that stood beside it.
Lucchesi is known as “the last of the Renaissance sculptors.” His work has been featured across the globe, including the Metropolitan Museum of Art, the Dallas Museum of Art and the Smithsonian’s Hirshhorn Museum. My favorite sculpture in the entire garden is his “After Shopping” which shows a mother tenderly holding her sleeping daughter. She carefully leans back in her chair with a bag of groceries draped over the stile of her chair. Each fold of the fabric and wave of hair is so realistic that it transports you into this scene. The stillness of this universally experienced scene moved me, as it reminded me of my close relationship with my mother.
In the far corner of the exhibit stands “Da Mi Un Baccio” by Jane DeDecker. This statue highlights a mother carrying her daughter on her shoulders. Decker “has placed over 175 life- and monumental-sized public sculptures in more than 30 states,” including “Harriet Tubman” at the Clinton Library in Little Rock, Ark.; “Albert Gallatin” at the National Park Service in Friendship Hill, Pa.; “Emily Dickinson” at Converse College, in Spartanburg, S.C.; and “Amelia Earhart” at the Earhart Elementary School in Oakland, California. What I loved about this piece was the texture of the statue. Unlike the work of Lucchesi and Gross, it looked like brushstrokes.
The best part of this entire sculpture walk is that it is entirely centered around Harry M. Stierwalt Jr.’s “Ram” sculpture. The many different channels of this pathway lead to the ram sculpture, which perfectly symbolizes how Fordham is the hub for creativity, artistry, community and the Jesuit mission.
Finally, my biggest takeaway is that there is something maternal about “magis.” There are only women and animals in this exhibit, which to me, exemplifies some sort of kindred connection between women, God and the natural world. Considering that women are prohibited from becoming Jesuits, this exhibit highlights how women, especially mothers, are pillars of the Jesuit identity regardless.
