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2010s

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2000s

2000s
  • $1 Bill Sculpture
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1990s

1990s
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1980s

1980s
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  • Kohler Arts Industry Residency (1988)
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1970s

1970s
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1960s

1960s
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1950s

1950s
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© 2012 - 2023 Ken Little

Installations

“Soaring: The Rules of Engagement” was installed in about 1 600 sq. feet of a renovated garage which now houses ARTPACE, a Foundation for Contemporary Art in San Antonio, Texas.

There were several elements. A brief description follows:

“Soar” a twelve foot long anthropomorphic “bear” figure made of red oil clay to partially simulate chocolate. The clay is laid over a wire mesh armature and lit from within with red/orange neon so that all body orifices glow from this light. The facial features and the toes are very human. “Soar” is raised about 4″ off the floor so that it also appears to float on this red/orange light.

“Here”, “Grit”, “So”, “Desire”, “Please”, and “Hey” (left to right), are all neon signs depicting hands with facial expressions. They line the walls of the room and refer to our first language of social interaction. They are also complementary in color and substance, illuminating the beast at the center of the room.

“Buck” and “Doe” Angels made from $1 bills are suspended in the area between “Soar” and the “Neighborhoods” on the ceiling. These are male and female figurative shells with no heads, hands, feet, or bodies inside. They are flying/ swimming/ falling through this space.

“Neighborhoods”: one being Apollonian and one being Dionysian are attached upside down to the ceiling and illuminated by spotlights from the floor (not shown). This also casts the shadows of the viewing audience into the “Neighborhoods”.

There are also illuminated cases (to the left and the right) which display small bronze castings of all these elements.

Ken D. Little, 1995

“Soaring: The Rules of Engagement” 1995: Mixed Media; an installation at Artpace, San Antonio, October 6-November 10, 1995 as part of their International Artists in Residency Program
“Soaring: The Rules of Engagement” 1995: Mixed Media; an installation at Artpace, San Antonio, October 6-November 10, 1995 as part of their International Artists in Residency Program
Soaring: The Rules of Engagement” ( the money angels and the neighborhoods) 1995: Mixed Media; an installation at Artpace, San Antonio, October 6-November 10, 1995 as part of their International Artists in Residency Program
Soaring: The Rules of Engagement” ( the money angels and the neighborhoods) 1995: Mixed Media; an installation at Artpace, San Antonio, October 6-November 10, 1995 as part of their International Artists in Residency Program
Soaring: The Rules of Engagement” ( the chocolate bear and the desires) 1995: Mixed Media; an installation at Artpace, San Antonio, October 6-November 10, 1995 as part of their International Artists in Residency Program
Soaring: The Rules of Engagement” ( the chocolate bear and the desires) 1995: Mixed Media; an installation at Artpace, San Antonio, October 6-November 10, 1995 as part of their International Artists in Residency Program
Soaring: The Rules of Engagement”  (money angel and houses) 1995: Mixed Media; an installation at Artpace, San Antonio, October 6-November 10, 1995 as part of their International Artists in Residency Program
Soaring: The Rules of Engagement” (money angel and houses) 1995: Mixed Media; an installation at Artpace, San Antonio, October 6-November 10, 1995 as part of their International Artists in Residency Program
"Victory and Defeat" 1996; Cast Iron coated in copper; approx. 35 feet long “Victory and Defeat” This is a pair of sculptures from a series of seven pairs of mask/feet completed during a residency at the Arts Industry program of the J.M. Kohler Art Center at the Kohler cast iron foundry in Kohler Wisconsin. The largest pair is 5 feet long and the smallest pair is 5 inches long. The entire piece is approximately 35 feet long. The work actually was conceived, as most of my works are through a process of meditation, dreaming, and other hard to explain intuitive practices. Once I began to think more consciously about the work I saw it as a reflection of how world history is made up of all the little accumulated personal histories as they interlock and overlap around the world. I think I used the image of feet since that is what we travel around the earth on making our little histories. I also liked the fact that they were made of iron, which came out of the earth, itself. I must have put a smiling face on one and a frowning face on the other to reflect the successes and failures of each generation? In the long run none of that may make any difference. It is a piece of sculpture that will stand on it's own. No pun intended. Ken Little 1996
"Rrose Amarillo" 1997: a one man exhibition of works at the Forum for Contemporary Art in St Louis Missouri
"Wheel of Desires" 1997; Neon on steel frames; 12'H x 12'W x 4"D
"Rrose Amarillo" 1997: a one man exhibition of works at the Forum for Contemporary Art in St Louis Missouri
"Victory and Defeat" 1996 (smallest pair) 5"L ; part of "Rrose Amarillo" 1997: a one man exhibition of works at the Forum for Contemporary Art in St Louis Missouri
"The Scenic Loop" (the proposal) 1993; a collaboration between Ken Little and Henry Stein at the Galleries of the University of California at Santa Barbara; Mixed Media
"The Scenic Loop" 1993; a collaboration between Ken Little and Henry Stein at the Galleries of the University of California at Santa Barbara; Mixed Medias
"The Scenic Loop" 1993; a collaboration between Ken Little and Henry Stein at the Galleries of the University of California at Santa Barbara; Mixed Medias
"The Scenic Loop" 1993; a collaboration between Ken Little and Henry Stein at the Galleries of the University of California at Santa Barbara; Mixed Medias
"The Scenic Loop" 1993; a collaboration between Ken Little and Henry Stein at the Galleries of the University of California at Santa Barbara; Mixed Media
"The Scenic Loop" 1993; a collaboration between Ken Little and Henry Stein at the Galleries of the University of California at Santa Barbara; Mixed Medias