- Doctoral Candidate
- University of Texas at Austin
This dissertation is a theoretical and historical account of abstract sculpture in US cities during the first three decades following World War II. Emerging theories about visual communication impacted both urban planning and the corporate image during this period, as urban renewal reshaped cities for maximum legibility and corporations commissioned designers to create new trademarks. It positions abstract urban sculpture within this larger contemporary theoretical discourse on urban planning and design through three case studies: Richard Lippold’s Radiant “I” (1956-58); Alexander Calder’s La Grande Vitesse (1967-69); and Claes Oldenburg’s Geometric Mouse (1969-75).