In Philadelphia, a unique two-acre park called Connections is merging art with nature, inviting visitors to walk through and enjoy a tranquil oasis designed by Greek-born artist Athena Tacha. Founded in the 1990s, this landscape sculpture features planted terraces that arc and intersect, meticulously framed by low stone walls and gentle elevations to create a space for relaxation and contemplation.
The origins of Connections trace back to 1981 when Tacha was originally commissioned under the city’s “One Percent for Art” initiative. Her early design included ambitious features such as an amphitheater, a staging area, and a water feature. However, budget cuts led to the cancellation of these plans. Determined to contribute to Philadelphia’s artistic landscape, she submitted a revised design that consisted of curvilinear planted terraces surrounded by accessible paths, benches, and tree-lined lawns, fostering a gathering place within the urban environment.
Tacha described her project as “perhaps the first park conceived as an environmental sculpture,” with its stone walls and nine clusters of vertical rocks serving as “nodes of energy.” The vegetation was carefully selected to showcase diverse forms and colors throughout the seasons, all aimed at creating what Tacha called “a magical and healing environment” in the city center. Following its dedication, Connections became part of the Fairmount Park Commission and was later integrated into the Philadelphia Department of Parks and Recreation.
Connections has garnered praise not only for its artistic allure but also for its community involvement. A dedicated group of over 120 volunteers, known as the Friends of Matthias Baldwin Park, collaborates with the city to maintain the park, ensuring it remains a cherished community space. Tacha’s vision of public art that is meant to be experienced and engaged with, rather than just admired in a museum, is realized in this vibrant setting.
As time evolves, the future of Connections and much of Tacha’s artistic legacy is currently entrusted to Richard E. Spear, an art historian and Tacha’s partner for over sixty years. Now 85 years old, Spear faces the pressing challenge of finding permanent homes for an extensive collection of Tacha’s works, which have flourished outside traditional commercial art venues.
A recent report from The New York Times highlights the urgency of Spear’s task, spurred by the impending sale of the space that once housed Tacha’s studio near the University of Maryland. Now at 89, Tacha is living with Alzheimer’s disease in a specialized care facility, prompting Spear to make the difficult decision to close the studio. Instead of relying on temporary storage solutions, he has prioritized donating and placing her works in museums and universities capable of ensuring their ongoing preservation.
In a significant step, Spear has donated all original drawings and materials related to Connections to the Woodmere Art Museum in Philadelphia, thus protecting the project’s historical record. This decision aligns with his broader commitment to safeguard both Tacha’s art and her memory through efforts like a comprehensive catalogue raisonné documenting over 1,600 works and the donation of her papers to the Archives of American Art.
However, this endeavor has not come without its challenges. While esteemed institutions such as Yale University Art Gallery and the National Gallery in Athens have welcomed her works, many other offers remain unacknowledged. As Spear poignantly stated, “I’m not young and there’s no one to leave anything to.”
Sadly, Tacha’s experience is not unique. Experts from organizations such as the Joan Mitchell Foundation have noted that numerous works by artists with considerable, yet underrecognized careers, risk being lost. In conversations with The Times, Arts advocates stress the need for museums and collectors to intervene in order to salvage significant art history from potential devastation.
Beyond just Connections, Tacha’s influence can be seen in at least 37 public works scattered across the United States, ranging from Alaska to Florida. Her portable pieces, made from delicate materials like feathers and shells, reflect her unwavering belief that art should be an integrated part of daily life, accessible to everyone.
As Connections continues to serve its purpose in Philadelphia, nurtured by the community that cherishes it, Spear’s dedication ensures that the powerful intersection of art, nature, and memory remains alive for generations to come.
image source from：aldianews
