Monumental Sculpture Collection Debuts in Rockford's Davis Park

A towering piece of Illinois history has found a new, permanent home along the banks of the Rock River.

On Friday, Nov. 13, 2026, Rockford officials unveiled a collection of five monumental sculptures in Davis Park, headlined by John Henry’s 35-foot-tall painted aluminum work, Bridgeport.

The installation marks a significant shift for the riverfront park, which is currently undergoing a $15.5 million overhaul. As reported by the Rock River Current, the centerpiece sculpture stood as a landmark at the James R. Thompson Center in Chicago for nearly forty years before the state-owned building was sold to Google for $105 million in 2022.

While the Chicago facility is slated for redevelopment with an expected reopening in 2028, the artwork will remain in Rockford, owned by the state of Illinois and on long-term loan to the Rockford Art Museum.

“The sculpture is regarded as one of the finest works of John’s long and distinguished career, and it’s a remarkable distinction when you think about where his works are in the world, who holds those works and displays those works.”

said John Groh, president and CEO of GoRockford, during the unveiling. Groh said that the city acted quickly to secure the pieces once the sale of the Thompson Center moved forward under the Pritzker administration, viewing the acquisition as a rare opportunity to solidify Rockford’s identity as a cultural destination.

The collection goes beyond Henry’s work, incorporating pieces by Jerry Peart, Barry Tinsley, and Robert Winslow. These sculptures are not tucked away in a climate-controlled gallery; they are positioned throughout the park’s landscape. This placement is a deliberate strategy to integrate high-concept art into the daily routines of residents, whether they are walking their dogs, heading to a playground, or attending a riverfront concert.

Carrie Johnson, executive director and chief curator of the Rockford Art Museum, emphasized the democratic nature of this outdoor display.

I’ve always believed that art should be part of our everyday life. We might be coming to a concert, taking a walk, meeting friends, or bringing your children to the playground and suddenly you’re standing in front of a 35-foot sculpture. Carrie Johnson

The project is deeply rooted in local legacy, supported in part by funds from the estate of the late Diane Voneida. As the city’s director of community development in the late 1980s and early 1990s, Voneida helped draft the original vision for Davis Park. Her long-standing belief that public art serves as a catalyst for community cohesion is now physically manifested in the park’s new aesthetic.

The arrival of Bridgeport is not the city’s first encounter with the work of John Henry. His sculpture Cape Variations has been a fixture in Beattie Park since 1973, donated by philanthropist R. Robert Funderburg. By adding Bridgeport to the downtown landscape, Rockford is effectively building a portfolio of large-scale abstract constructions, signaling a move toward reclaiming riverfront spaces as hubs for both recreation and cultural discourse.

There remains, however, the practical question of how these monumental works will age in an outdoor environment. Unlike museum-housed pieces, these aluminum, bronze, and granite structures will face the harsh realities of Illinois winters and riverfront humidity.

The city’s willingness to maintain such a high-value collection is a testament to the local government’s commitment to urban revitalization, though it places a perpetual financial responsibility on the community to preserve these assets for future generations.

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Looking ahead, the city has plans to continue this expansion. Gene Horvath’s bronze statue Pulling Together—which depicts Rockford founders Germanicus Kent, Lewis Lemon, and Thatcher Blake—is currently in storage. The statue was removed roughly eight years ago during South Main Street construction.

GoRockford has identified a potential new location for the bronze near the railroad trestle, closer to the city’s original founding site, though a timeline for its restoration and return to public view is still pending.

For now, the riverfront serves as a gallery of monumental American sculpture, transforming a construction site into a space defined by its artistic ambition. As visitors walk past the massive granite forms of Winslow’s Energy Form or the vibrant lines of Peart’s Jellyroll Man, the intent is clear: to ensure that the city’s identity is shaped as much by what it displays as by what it builds.

Worth a look