Category: public art

NY writer likes us! He really likes us!

Krista Terrell of the Arts & Science Council just sent along a note revealing that the New York Times’ Frugal Traveler, Seth Kugel, spent a few days in Charlotte and blogs about it, “Making Pit Stops in Charlotte.”

While he wrote a lot about the NASCAR Hall of Fame and that he enjoyed his visit there despite not being a NASCAR fan, he also praises the ASC’s new public art tour and podcast, which is why Terrell was interested in sharing.

Here’s Kugel’s remark about NASCAR: “I know that Nascar is awesome in the same way I know that cricket and Tolstoy novels and contemporary dance are awesome. I personally can’t see the appeal, but enough reasonable people disagree with me that I believe in their awesomeness.”

He’s not exactly kind to the city’s image elsewhere, though (the bold-facing here is mine): “The city — which has experienced rapid growth (with a population of over 700,000, double what it was in the mid-1980s) and at the same time maintained a relative lack of identity (banking center and airline hub, total snoozer) — intrigued me. Something had to be going on there, and I would find out what it was.”

Here’s Kugel’s take on the public art tour:
“Uptown is one of those clean areas that people from grittier cities may at first perceive as sanitized and devoid of character, but the podcast will go a long way to dispel that, pointing out many works of public art, including the four statues that stand at the four corners of Trade and Tryon Streets. (Don’t miss the very odd bust of Alan Greenspan in the statue representing “Commerce”.)”

I wrote about the public art tour in a September op-ed, “The art of a city: more than mosaics.”

‘Tryon Bridge Towers’ artist did WWII Memorial

What ARE those things on South Tryon Street? The two metallic structures erected just past the Big O building at the bridge over I-277, are not, as you might have thought, witches-hat-derived homage to the show “Wicked.” They are a gift from the Queens Table, a group of anonymous – and apparently wealthy and influential – public art donors who have brought us the Socialist-realist monuments at The Square.

Update 3:30 PM – The artist is Friedrich St.Florian, an architect based in Providence, R.I. He designed the World War II Memorial in Washington. Here’s a link to a series of photos of the works being installed. The current name appears to be “Tryon Bridge Towers.”

Here’s a link (courtesy of the folks at CLTblog) to a presentation to the City Council in April 2009. It explains the Queens Table: “A small group of anonymous donors established the Queen’s Table Fund in 1991 to celebrate Charlotte by quietly finding and filling needs that are not otherwise being met to enhance aesthetics and quality of life in the City.” (May I suggest that art teachers for CMS could be an unfilled need for the next decade?)

Among their prior gifts, in addition to the four statues at The Square, are the Queen Charlotte at the airport (often described as “going into the lane for the layup”) and “Aspire,” the bronze on Kings Drive outside the Temple of Karnak-sized new Central Piedmont Community College building. I have come to love the airport statue, I confess. “Aspire” will have to grow on me. The things at The Square are an embarrassment, art as envisioned by aging CFOs, perhaps. (No I don’t know who really selected them.)

I am checking in with Jean Greer, Vice President of Public Art at the Arts & Science Council to see what she knows. (Update: Jean tells me the project didn’t go through the ASC Public Art Commission although she knew about it through Charlotte Center City Partners. It sits on N.C. DOT property, she says. The N.C. DOT is in the process of crafting an art policy for state rights-of-way.)

Jean is one of the lucky souls who gets to stand up at occasional City Council dinner meetings and give presentations on current public art projects and endure silly jokes from council member Andy Dulin and – for the 14 years he was mayor – Pat McCrory. McCrory buttonholed me last week at the James Jack statue unveiling to say he requires two things of public art for him to like it: You don’t have to be high to “get it” and it shouldn’t be something a 5th-grader could do. He approved of Chas Fagan’s James Jack statue.

I don’t know about this new work. At first, as I went past for several weeks I kept thinking it was some odd NCDOT construction equipment abandoned to the weeds. Then it became clear it was “art.”

Pardon me for sounding like McCrory but this one reminds me of robotic equipment, as portrayed on “The Jetsons,” or possibly a depiction of the trash compactors on Darth Vader’s Death Star. It does not make my heart soar. If anything, it destroys any soaring my heart might have been inclined to do. (Not that a soaring heart is likely as you walk across the bleak, Sahara-like I-277 bridge.)

Annual cost to the city, for maintenance, such as mowing, planting, electricity: $ 8,450.

Was Charlotte’s Maya Lin piece an early “Wavefield”?

Was Charlotte’s not-so-lamented lost artwork “Topo” (above, in happier days) an early incarnation of the undulating earthworks for which artist/architect Maya Lin is now famous?

Read this New York Times article from today about a Lin work, Storm King Wavefield, at the Storm King Art Center in New York. Look at the wavefield. Does it not remind you a bit of the now-demolished “Topo” Lin did early in her career, in Charlotte?
The piece I did about Gumby and public art (read it here) mentioned Maya Lin‘s landscape art for the now-demolished Charlotte Coliseum on Tyvola Road. When the City Council turned thumbs down on Joel Shapiro’s proposed sculpture, a.k.a. “Gumby,” the public art commission turned to the young Yale-graduate Lin, who had won worldwide acclaim for her 1982 Vietnam Veterans Memorial in Washington. She and Henry Arnold of Princeton collaborated to create “Topo” – nine large, ball-shaped Burford hollies arranged on an undulating median at the Coliseum. The original plan called for a misting system so the balls would appear to float. That idea was dropped because of its cost.
“Topo” was installed in 1991. It was pleasant, and I always liked the undulating berms, the shaping of which Lin herself supervised on site. But unless you were in a helicopter, it was a bit hard to get the overall sense of “Topo.” And it always seemed to me that any sculpture lively enough to have acquired a name even before it was built would have become a kind of beloved civic character – maybe not as beloved as Charlotte Hornet Muggsy Bogues, but beloved nonetheless.
Look at Lin’s work since then (somehow, “Topo” doesn’t show up on her Web site) and it’s clear she has put that undulating earth concept at the center of much of her recent work. Storm King Wavefield looks magnificent – like a mature and confident version of the baby version in “Topo.” As Lin’s fame has grown, “Topo” might well have become notable simply for being one of her earliest.
The city sold the Coliseum for private development, and the building was imploded in 2007. The new owners tried unsuccessfully to find someone to adopt “Topo” and its nine hollies. “Topo” was demolished in 2008. The photo below shows the work in its last days.

Another arts flap we need to live down

Before the Actors Theatre of Charlotte’s recent play, “Southern Rapture,” there was the 1996-97″Angels in America” flap that inspired that new play. And before “Angels” there was “Gumby.” All are part of Charlotte’s continuing uneasy relationship with “art.” And maybe a new National Endowment of the Arts grant will help redeem the city, in some small way, from its “Gumby”-tainted history.

Because the Angels flap made national news – it sparked a sort of revenge-on-the-gays vote by the then-county commissioners, who axed the county’s yearly allocation for the Arts & Science Council and then, except for the eternal Bill James, all lost their next elections – it lives on on local memory (and embarrssment).

But an earlier, similarly embarrassing flap came in 1987. The city’s public art commission chose a semi-abstract bronze work by noted sculptor Joel Shapiro for the to-be-built-and-now-already-demolished Charlotte Coliseum on Tyvola Road. Morning DJs John Boy and Billy and plenty of other folks ridiculed the piece. Among them was arts commission member Robert Cheek, who dubbed it “Gumby.” And to be just, there is a certain familial resemblance to the ’50s claymation fellow. (Art gallery owner Cheek pleaded guilty a few years later to cocaine smuggling and was sentenced to 10 years in prison.)

So the City Council in an act of not-unprecedented spinelessness, rejected the Shapiro work. Instead the city chose a work by Maya Lin – a collection of Burford hollies supposed to look like balls rolling downhill. It, too, was demolished. Shapiro went on to worldwide fame and success – his works are now at the National Gallery in Washington and art museums in Houston, New Orleans, Raleigh and even on the Davidson College campus. That $400,000 sculpture would have bought the city a work surely worth many multiples of that today. But no, our elected officials instead consulted the drive-time DJs about their cultural purchases and exhibited the political spines of earthworms.

Redemption ahead? Recent news says we got a $60,000 grant from the National Endowment of the Arts to go toward a monumental sculpture costing approximately $300,000 at the planned Romare Bearden park uptown (named for the Charlotte-born artist) near the Panthers’ stadium. Is it too late to get something by Joel Shapiro? Maybe. And anyway, Shapiro (who has sold numerous other copies of the model he did for our city) might not want to play. In 1993, in conjunction with an exhibition that included the model for “Gumby,” he opted against returning here to be on a panel. Of the brouhaha here, he told Observer reporter Ricki Morell, “It was a farce and quite humiliating. It was a low point in my career.”

And by 1993, even the DJs were having second thoughts. “John Boy” Isley told Morell: “I’ve grown attached to it over the years. Viewing the bushes that are at the Coliseum now [the now-demolished Maya Lin art], maybe we were a little harsh on Gumby.”

The art in transit

If you’ve ridden the Blue Line you’ve probably noticed some of the art at the transit stations. Most noticeable, of course, is Thomas Sayre’s red-clay disks, “Furrow,” in the South Boulevard median at the Scaleybark station.

From today through March 27, an exhibition at the Carillon building uptown, 227 W. Trade St., “From Studio to Site – Public Art in Charlotte-Mecklenburg” looks at 12 public art projects around the city.

Among the works displayed in the photographic exhibit will be Dennis Oppenheim’s “Reconstructed Dwelling” (above, right) from the Tyvola station, and “Heritage 4 Charlotte,” (above, left) from Myklebust + Sears, four columns recently installed at the airport.

The Carillon is home to one of my favorite Charlotte works, Jean Tinguely’s “Cascade.” Be sure to notice it if you visit the other exhibition.