Connect with us

New York

Fred Eversley, Sculptor of Otherworldly Discs, Is Dead at 83

Published

on

Fred Eversley, Sculptor of Otherworldly Discs, Is Dead at 83

Fred Eversley, a sculptor who used a technique dating back to Isaac Newton to make otherworldly discs of tinted resin, died on March 14 in Manhattan. He was 83.

His death, in a hospital, was confirmed by his wife, Maria Larsson, who said that he died after a brief illness.

Mr. Eversley was a Brooklyn schoolboy of 12 or 13 when he first learned, from an issue of Popular Mechanics, that the centrifugal force created by spinning a vessel of liquid will push its surface into a parabola. Newton did this with a bucket and a rope; Mr. Eversley, working in his parents’ basement, used a pie plate of Jell-O on a turntable.

When he returned to the idea nearly three decades later, after giving up a career as an engineer, he was a fledgling sculptor in the busy artists’ community of Venice Beach, Calif., experimenting with plastics and dye. Using liquid polyester, which he called “the cheapest, the least toxic and the most transparent” resin available, he worked out a process for casting separate layers of resin colored violet, amber and blue in a spinning cylindrical mold.

The result was a form he stuck to for the next 55 years: a translucent disc, somewhat bigger than a vinyl record and much thicker, displayed vertically on a pedestal. Each disc has a highly polished parabolic concavity on one side that creates optical effects like a lens, sharpening and minimizing the view behind it. At the same time, the colors sparkle and change dramatically, according to the light in a given room and a viewer’s movements; as Mr. Eversley liked to say, it becomes a kind of kinetic sculpture without kinetic elements.

Advertisement

Over the years, Mr. Eversley produced opaque as well as translucent discs, worked at different scales, and made other parabolas by slicing through resin rings and tubes at sharp angles. Steadily successful at winning public commissions, he installed soaring curves of futuristic steel or glowing polyurethane at Miami International Airport, in West Palm Beach, Fla., and at the southern end of Central Park.

A charming and self-possessed man, he also acquired friends, mentors and patrons wherever he went. He used the sculptor Charles Mattox’s lathe to spin his first mold, was introduced to the gallerist Leo Castelli by Robert Rauschenberg and, according to his wife, became close friends with the influential collector Hans Heinrich Thyssen-Bornemisza after encountering him in an elevator.

Early on, he showed his work with other members of what became known as the Light and Space movement, an ethereal California spin on Minimalism. He was also associated with Finish Fetish, a movement that emphasizes new materials and the labor-intensive perfection of surfaces, and he was occasionally grouped with the Black Arts Movement, though some other Black artists found his work insufficiently political. (He made his first opaque disc after the sculptor John McCracken jokingly handed him a can of black pigment with which to make some “black art.”)

Still, with his engineering background, Mr. Eversley thought about what he was doing differently from how his peers did. His abiding interest was energy, in the scientific sense. And his abiding love was the only shape that, whatever hits it, whether light or sound, throws everything back into a single focal point: the parabola.

Frederick John Eversley was born in Brooklyn on Aug. 28, 1941. His father, Frederick William Eversley Jr., was an aerospace engineer and a contractor; his mother, Beatrice (Syphax) Eversley, taught at an elementary school. His paternal grandmother was Jewish, and his maternal grandmother was a member of the Shinnecock Nation.

Advertisement

In addition to his wife, he is survived by three younger siblings, Rani, Donald and Thomas Eversley.

As a child, Mr. Eversley liked to listen in on his father’s conversations with other engineers and to experiment with his grandfather’s camera equipment. He attended the progressive Camp Kinderland in Massachusetts; worked at the Folklore Center in Greenwich Village as a teenager as well as for his father’s aviation company; graduated from Brooklyn Technical High School; and met jazz greats like John Coltrane and Ella Fitzgerald at the Putnam Central Club, which his grandfather had founded, in the Bedford-Stuyvesant neighborhood of Brooklyn.

He was the first Black man to live on campus at Carnegie Mellon University in Pittsburgh, then known as the Carnegie Institute of Technology. In his senior year, the father of a fraternity brother offered him a job at Wyle Laboratories in El Segundo, Calif. He had already been accepted to medical school. But then he began dating a painting student with plans to spend the summer in San Miguel de Allende, Mexico.

“It’s a long story,” he recalled in a 2022 interview with the art historian Danielle O’Steen for the monograph “Fred Eversley: Parabolic Lenses,” “but my liberal parents suddenly turned on me and thought my idea was too wild. They refused to help out with money, so I figured the only way to spend the summer of ’63 in Mexico with Suzanne was to accept the job at Wyle and ask for advance payment.”

That fall he moved to Venice Beach and began running tests for NASA, private companies and the Department of Defense, like designing a special test chamber that bombarded the Apollo space capsule with high-intensity noise.

Advertisement

His plans were derailed again by a serious automobile accident in January 1967 that left him temporarily unable to work. By then he was surrounded by artists like James Turrell, whose studio was down the block; Richard Diebenkorn, whose studio was visible from his apartment; and Mr. McCracken, who moved in next door. Many of them came to him for help with engineering problems.

“Since I was on disability payment,” Mr. Eversley explained in the monograph, “I could play freely, without any pressure around staying out of the Army or making my living. I guess I felt like, if others can make art, I can, too. I really had nothing to lose.”

He started with photographic transparencies attached to the sides of plastic cubes illuminated by fluorescent bulbs. But soon, with the encouragement of friends like Mr. Mattox, John Altoon and Robert Rauschenberg, he dropped the photographs and focused on the plastic, casting and polishing luminous rectangles and cones. In 1969, when Mr. Altoon died, Mr. Eversley took over his studio, which had been designed by Frank Gehry.

Soon Mr. Eversley was enjoying a debut few artists could dream of. On a single day in 1970 he sold two pieces directly to the painter and influential gallerist Betty Parsons and was offered a solo show at the Whitney Museum of American Art by Marcia Tucker, with whom he had worked at the Folklore Center. That year he also had several solo shows at commercial galleries in New York, Chicago and Newport Beach, Calif., and appeared in more than a dozen group shows, including one at Pace Gallery in New York and one in Tokyo as well as several in California.

Despite this explosive beginning, for much of his career Mr. Eversley was, and had to be, his own best salesman. Fortunately, though he might have downplayed it, he had a talent for it.

Advertisement

“I really don’t believe, perhaps contrary to popular opinion, that my business techniques are that aggressive,” he said in a 1980 interview with Ocular magazine.

In 2018 he signed with David Kordansky Gallery, which has locations in Los Angeles and New York. The next year, after a yearslong dispute with his Venice Beach landlord, he returned to New York, where he owned a five-story loft building in SoHo. In 2023 Kordansky staged his first New York solo show since 1976, “Fred Eversley: Cylindrical Lenses.” For that show, he made a series of brilliantly colored seven- to nine-foot-tall monoliths, realizing an idea he first had decades earlier. Amanda Gluibizzi described them in The Brooklyn Rail as “megalithic and space-age at the same time.”

Shortly before his death, said Ms. Larsson, an architect who also managed her husband’s studio, Mr. Eversley was talking about what a charmed life he had had. If he did, it must have been at least partly because he came forward so eagerly to meet every opportunity.

“Fred showed up,” Ms. Larsson said. “He showed up everywhere. He used to say, ‘Maria, we need to show up.’”

Advertisement
Continue Reading
Advertisement
Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.

New York

In Rebuttal to Trump Official, M.T.A. Says Subway Is Getting Safer

Published

on

In Rebuttal to Trump Official, M.T.A. Says Subway Is Getting Safer

In response to the Trump administration’s portrayal of the subway system as lawless, New York transit officials on Wednesday shot back: Crime is down, fare evasion is falling — and the nation’s largest transit system deserves far more money.

Janno Lieber, head of the Metropolitan Transportation Authority, said the agency would be taking “a very professional, fact-based approach” to the federal government’s demands last week for a list of statistics on transit crime, aiming to show that crime underground is the lowest it has been in more than a decade.

Still, a surge in unpredictable attacks in the subway remains troubling, M.T.A. officials acknowledged, and concerns about crime remain an obstacle to getting some riders to return. A January rider survey showed that a little more than half of subway customers — 56 percent — say they feel safe on trains.

New York transit officials have remained defiant weeks into their standoff with federal officials, which began when Washington demanded the halt of congestion pricing last month. When New York refused, the skirmish escalated, with Sean Duffy, the secretary of the U.S. Department of Transportation, threatening to defund transit projects, if the state did not provide the crime stats. Over the weekend, he referred to the subway system as a “shithole,” WNBC-TV reported, while repeating his demands.

A formal response to the secretary is in the works, but the transit authority wanted to preview the information, Mr. Lieber said at a board meeting on Wednesday.

Advertisement

“We’re going to stay coolheaded because the facts are on our side,” Mr. Lieber said.

Excluding 2020 and 2021, during the height of the pandemic when subway ridership was way down, last year had the fewest number of felonies reported in the transit system in 15 years, Michael Kemper, chief security officer at the M.T.A. and a former chief of transit at the Police Department, said at the board meeting. Weekly ridership has rebounded to about 75 percent of prepandemic levels.

During its rebuttal, the transit agency attempted to turn the tables and requested a larger share of federal transportation funding, at a time when it is trying to pay for its next five-year, $68 billion capital plan budget.

The transit agency receives between $1.5 billion to $2.5 billion a year from the federal government, which is used for improvements, like repairing outdated electrical equipment, as well as some basic maintenance, Mr. Lieber said.

John McCarthy, the chief of policy and external relations at the M.T.A., said the agency receives just 17 percent of a federal pool of transit funding, despite carrying 43 percent of the nation’s transit ridership.

Advertisement

“It’s shortchanging low- and middle-income New Yorkers,” he said.

In a statement, a spokeswoman for Mr. Duffy said a spate of recent violent crimes, including the death of a woman who was set on fire on the subway last year, has left riders on edge. “The M.T.A. can try and gaslight the American people, but attacks like these make every passenger fear becoming the next victim. It should have never gotten to this point for the governor and the M.T.A. to crack down on crime.”

Mr. Duffy demanded data on the number of assaults committed on passengers and employees; efforts to prevent “subway surfing,” the practice of riding moving trains; and the money spent on a number of security-related projects.

The back-and-forth over subway crime comes as the Trump administration and the M.T. A. are battling over congestion pricing in federal court. The tolling program, which began in January, charges most drivers $9 to enter the busiest section of Manhattan during peak hours. It has reduced traffic while aiming to raise $15 billion for critical transit repairs and upgrades.

Mr. Trump has vowed to kill congestion pricing, expressing concerns that the tolls would drive visitors and businesses away from Manhattan, though there is little evidence of that so far.

Advertisement

While Mr. Duffy did not mention congestion pricing while demanding the subway crime stats from the M.TA., a number of transit supporters questioned the timing of the request, which came shortly after Gov. Kathy Hochul reiterated her support for the tolling program.

Last month, Mr. Duffy withdrew federal authorization for congestion pricing, which was approved by the Biden administration. Federal officials initially gave New York until March 21 to stop charging the tolls, but last week Mr. Duffy offered a 30-day reprieve in a combative social media post, in which he described the program as a “slap in the face to hard working Americans.”

Mr. Duffy also put Ms. Hochul on notice that “your refusal to end cordon pricing and your open disrespect towards the federal government is unacceptable,” according to his post.

The M.T.A. has sued federal transportation officials and promised to keep collecting tolls unless a court orders it to stop. Legal and transportation experts have said that federal officials do not have the authority to reverse course now.

In raising the specter of crime in the subway system, Mr. Duffy is poking a sensitive topic among New Yorkers. The M.T.A. has said that, even as subway crime overall was declining, there was a rise in assaults underground.

Advertisement

In 2023, for the first time in nearly two decades, felony assaults outnumbered robberies in the subway, raising concerns that the nature of violence underground was becoming more unpredictable.

In recent months, a few high-profile crimes have shaken riders, including the one that Mr. Duffy’s spokeswoman referred to, when Debrina Kawam, a 57-year-old woman, died after being set on fire, as she slept on a train in December. Later that month, Joseph Lynskey was shoved in front of an oncoming train at the 18th Street station in Manhattan and survived. There were 10 murders in the subway in 2024, up from three in 2019.

Late last year, following an overnight slashing attack on an A train that injured a conductor, Ms. Hochul ordered 1,000 members of the National Guard to begin patrolling the subways. As of earlier this month, about 1,250 Guard members, M.T.A. officers and state police officers patrolled the system, according to the governor’s office. In addition, thousands of city police officers patrol the subway.

Fare evasion, a frequent target for critics of the transit authority, is trending down, but also remains a major concern, Mr. Lieber said. In fall 2024, 10 percent of subway riders did not pay the fare, down from 14 percent in the spring. On buses, 45 percent did not pay the fare in the fall, down from 50 percent in the spring.

It is unclear if the federal government will be satisfied with the M.T.A.’s findings, which it will formally submit before the end of the month. Some transit observers have questioned whether the administration has ulterior motives in painting the agency as inept.

Advertisement

Rachael Fauss, a senior policy adviser for Reinvent Albany, a government watchdog group, gave the M.T.A. credit for releasing detailed data about crime in the transit system and congestion pricing. But, she added, “the Trump administration doesn’t care about the facts.”

Federal officials could threaten to delay or withhold funding to gain political leverage in their effort to end congestion pricing, transportation and legal experts said. The M.T.A. is seeking $14 billion from Washington in its next five-year capital budget.

New York’s leaders cannot count on federal funds for the transit system’s capital needs, Ms. Fauss said, and should instead look for local revenue sources, including raising money from suburban areas that have benefited from transit investments.

During Wednesday’s meeting, Mr. Lieber emphasized, “We’re not out to make any enemies; we’re literally in the bridges business.”

Still, one M.T.A. board member could not resist taking a jab at Mr. Duffy.

Advertisement

Neal Zuckerman, the chair of the finance committee, invited the transportation secretary to attend their next meeting, in a post on social media.

“Come on down, Mr. Duffy,” he wrote. “We will protect you from the ‘scary subway.’ You’ll be ok.”

Continue Reading

New York

How ‘Operation Mincemeat’ Revealed a Family’s World War II Secrets

Published

on

How ‘Operation Mincemeat’ Revealed a Family’s World War II Secrets

When William Leggatt was at work as a renewal energy developer a couple of summers ago, he received a bizarre email from a superfan of “Operation Mincemeat,” a British musical about a wacky World War II intelligence plot.

As the show outlines, the operation involved British spies dressing a corpse as a military officer, stuffing a briefcase with fake letters implying an imminent invasion of Sardinia, and then dumping the corpse and documents at sea to be discovered by the Nazis.

So the email contained a simple question: Was William a distant relative of Hester Leggatt, a prim secretary who appears in the musical and played a key role in the plot?

The show’s superfans, who meet in an online forum and are known as Mincefluencers, believed that Hester was involved in writing fake love letters that officials planted on the body to help make the plot believable — and that she deserved to be publicly honored. But William Leggatt had no idea what the email was talking about.

It was only when he started talking to family members who were closer to the great-aunt and, later, reading a document sent by the Mincefluencers, that he realized they were right. In the end, he recalled in a recent interview, the musical “opened a whole side to my family I’d never known.”

Advertisement

Since debuting in London in 2019, “Operation Mincemeat,” which opened on Broadway last week at the Golden Theater, has won plaudits for turning wartime espionage into a satirical musical. For William Leggatt and other descendants of the real life figures depicted onstage, it has also unearthed family secrets and brought newfound appreciation for their forebears.

In the musical, Hester Leggatt (Jak Malone, one of five cast members playing numerous parts) is depicted as an unemotional prude until she takes on the task of writing the love letters and sings a heart-wrenching showstopper called “Dear Bill.”

World War II aficionados had been aware that a secretary called Hester had written the romantic notes, potentially with help from others, since the journalist Ben Macintyre named her in an acclaimed 2010 history. But a slight discrepancy in the spelling of her surname meant that when the musical opened, the real Hester remained largely a mystery.

Once the Mincefluencers discovered the correct spelling, they set about finding Hester Leggatt’s descendants and eventually produced a 50-page document about her life, which even detailed a play that she performed in at school. The superfans also got MI5, Britain’s domestic security service, to confirm that a Hester Leggatt had worked for the service during the war.

William Leggatt said he never met his great-aunt, who died in 1995, and knew nothing of that background before receiving the email.

Advertisement

It was “pretty annoying,” he added, to find out decades after her death that she had played a role in a famous World War II plot because, he said, he would have loved to have quizzed her about it. Still, he said: “I don’t think she told even those close to her. She kept it pretty bloody secret her whole life.”

For other descendants of the Operational Mincemeat spies, the musical has led them to delve more into their family history or changed their perceptions of long-lost relatives.

Susie Pugh, a granddaughter of John Bevan, the official who approved the plot, said in an interview that attending the musical had rounded out her image of a man who died when she was 15. She had known him as an affectionate grandfather, she said, yet onstage he was “confident, strident” and ordering spies around.

Jessica Baldrian, a granddaughter of Charles Cholmondeley, another spy, said that her family had chatted regularly about him since seeing the show. She said it got some things wrong, including portraying him as a newt-obsessed nerd (the family could find no evidence of his amphibian fancying). But, she added, it was a musical: “You don’t expect it to be accurate.” Like many of the spy descendants, Baldrian traveled from Britain for the recent Broadway opening to see her grandfather portrayed on the New York stage.

One descendant has even become a Mincefluencer himself.

Advertisement

Saul Montagu said he had long known that his great-grandfather Ewen Montagu had masterminded the operation, not just because Montagu wrote a 1953 book about it, called “The Man Who Never Was.” The walls of the family’s home in Oxford also include numerous photographs, a painting and a caricature of Montagu, one of which was signed by Winston Churchill in gratitude for his service.

But Saul Montagu said that as a teenager he had thought little about his great-grandfather, who died in 1985.

That changed in January 2020 after a family outing to see the musical. He began delving into his great-grandfather’s life, first reading his book and then his unpublished autobiography and a handwritten diary from a year at Harvard in which he confessed to spending more time dancing and sourcing contraband liquor than studying.

As Saul Montagu’s fandom for the musical grew, he recalled, he joined the main online Mincefluencers group and answered questions about his great-grandfather.

The research, Montagu said, “humanized” his great-grandfather, making him far more than simply a cool tale to tell friends about. Now, he added, he has seen the musical 13 times, and even joked with Natasha Hodgson, the actor who plays his ancestor, about how they were “family.”

Advertisement

In interviews, six descendants of the characters said they loved the show, though not all were convinced that their ancestors would agree.

William Leggatt said of his great-aunt Hester, “for her contribution to finally be recognized, I’m sure she’d have been happy with that.” But if she discovered that a man was portraying her on Broadway, he said, “there’d have been some spluttering.”

Continue Reading

New York

Columbia Planned Tighter Protest Rules Even Before Trump Demanded Them

Published

on

Columbia Planned Tighter Protest Rules Even Before Trump Demanded Them

A lawyer for Columbia University said Tuesday that a demand from the Trump administration for dramatic changes in student discipline had merely sped up policies the university had already been planning to enforce.

In a March 13 letter, the Trump administration said the university had failed to stop “antisemitic violence and harassment,” adding that policy changes would have to be made before the government would discuss resuming $400 million in canceled grants and contracts. Last week, the school complied with most of the government’s requests, regulating masks on campus and empowering a team of security officers to make arrests.

The lawyer’s assertion that Columbia had been planning the changes all along came during a hearing in Federal District Court in Manhattan over a request by a group of anonymous Columbia and Barnard College students that a judge bar school officials from handing over confidential disciplinary records to a congressional committee that has asked for them.

Both Columbia and the committee have contended that the students have not shown a sufficient legal basis for such an order. The judge, Arun Subramanian, made no ruling Tuesday.

The arguments in court stemmed from a request by the House Committee on Education and Workforce for disciplinary records related to several incidents, including the occupation of a university hall last spring by pro-Palestinian demonstrators, a protest of a class taught by former Secretary of State Hillary Clinton, and an art exhibition the committee said had “promoted terrorism.”

Advertisement

Seven anonymous students and Mahmoud Khalil, a former student and legal permanent resident who helped lead protests last year and whom the Trump administration is trying to deport, sued to keep the records private. The lawsuit said that to fully comply, Columbia would have to turn over private files of hundreds of students, faculty and staff members.

Their lawyers have argued that the House committee was trying to coerce the university into becoming the government’s proxy to chill speech critical of Israel and to suppress association, actions that the First Amendment would prohibit the government from taking.

Marshall Miller, a lawyer for Columbia, denied in court on Tuesday that the university was being coerced, saying that it was voluntarily responding to government requests.

At one point, Judge Subramanian asked Mr. Miller whether Columbia would have announced new rules last Friday without a suggestion from the executive branch that money was at stake.

“It’s a hypothetical,” Mr. Miller said.

Advertisement

“I don’t think it’s a hypothetical,” Judge Subramanian replied.

Mr. Miller then conferred briefly with colleagues before saying that although the new policies had been developed over many months, the Trump administration’s demand affected their “precise timing.”

Ester R. Fuchs, a Columbia professor who is the co-chair of the university’s antisemitism task force, said last week that “a lot of these are things we needed to get done and were getting done, but now we’ve gotten done more quickly.”

The provisions the school adopted were made public in an unsigned statement that many faculty members greeted with dismay, seeing an unprecedented level of deference to the Trump administration.

Among other things, Columbia banned face masks on campus for the purpose of concealing identity during disruptions and said it would adopt a formal definition of antisemitism.

Advertisement

The university also said it would appoint a senior vice provost to oversee the Middle Eastern, South Asian and African Studies Department, which the Trump administration had said should be placed into receivership.

Lawyers for the students said their clients could suffer harm if their disciplinary information was handed over to lawmakers allied with the Trump administration. The lawyers wrote in court papers that after Columbia provided such information to the government last year, “members of Congress or their staffers posted students’ private information on social media sites and identified students and faculty on the public record during congressional hearings,” resulting in harassment.

Mr. Miller said on Tuesday that Columbia had “anonymized” information provided to the committee.

A lawyer for the students, Amy Greer, said that students who had participated in pro-Palestinian demonstrations were “some of the most surveilled people in our country right now,” adding that several private organizations had worked to target students for their speech.

Even if Columbia removed names from information it gave the committee, the inclusion of physical descriptions and details of activity at specific times and places meant “somebody is going to recognize them,” Ms. Greer added.

Advertisement

Earlier in the hearing Judge Subramanian had asked a lawyer for the House committee what lawmakers might do with the student disciplinary records.

The lawyer, Todd Tatelman, replied that the identities of students might in “certain circumstances” be relevant.

“There is no intent to publicize student names?” Judge Subramanian asked.

Mr. Tatelman replied that he knew of no such plans. The judge asked next whether the committee would turn over the names of students to any “administrative agency.”

Mr. Tatelman replied that it would not be “a typical action.”

Advertisement

“But you cannot rule it out?” the judge asked.

“At this point,” Mr. Tatelman replied, “I cannot rule anything out.”

Continue Reading
Advertisement

Trending