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The Loupe, Summer 2011 Keeping you in... The newsletter of the Department of Art and Art History Box 870270 Tuscaloosa, Alabama 35487-0270 http://art.ua.edu/ The Loupe is the newsletter of the Department of Art and Art History, a NASAD-accredited department in The University of Alabama’s CollegeThe of Arts and Sciences, publishedLoupe in the fall, spring, and summer semesters. Please send correspondence to Rachel Dobson, Visual Resources Curator, [email protected]. Summer 2011 (loop), n. 1. a small magnifying glass used by jewelers or watchmakers, or for viewing photographic transparencies. DE ART OUTSIDE ART OUTSIDE Looking at outside art everyday If you’ve walked around UA’s campus veloping Woods Quad Sculpture Garden over the years, you’ve probably noticed (see page 5). Argyle is the second of the a growing variety of outdoor sculpture: regularly changing works of art to be situ- in Woods Quad, at Bryant-Denny Stadi- ated there. And the sixth work is espe- um, near Canterbury Chapel, and several cially familiar to quad visitors. “Goldie,” other locations. And, maybe you’ve won- short for Joe McCreary’s Goldie 1971, is a dered about these works of Outside Art. favorite picnic destination and stopover This spring, Dr. Lucy Curzon, Assistant for snapshots with the dozing giant. Professor of Art History, asked her students to write about some Curzon wanted her students to observe how outdoor sculp- of these sculptures. Curzon added a “Public Art Exercise” to her tures “communicate” with viewers and with their environment, course, ARH 381—Art Since World War II. In conjunction with the and to apply ideas about contemporary public art to these local assigned readings and lecture on the topic, in which she works, making larger intellectual concepts more real for covers artists like Christo and Jeanne Claude, and students. She wanted them to think about public art Maya Lin, Curzon asked her students to take a not as a distant, textbook case idea, but as part of walk around the campus, and write about their world. She writes, “I had also begun to in- some of UA’s public art. She organized clude — at the end of every lecture — a ‘why is her students into small groups and this relevant today’ or ‘what does this have to assigned each group to a sculp- do with YOUR life’ section, so actu- ture. Students could then locate ally going outside and interact- their group’s sculpture with her writ- ing with the works that we ten directions or through links have on campus seemed a to images on the Department “we perfect way to augment of Art and Art History’s Flickr. only know that ‘reality factor’ that com site. The images are also half of Goldie, considering I was trying to introduce “geotagged,” which links them [the other half] of it appears like into the curriculum.” Cur- to an online map. zon posed specific it’s underground.” —Natalie Armstrong, student in ARH 381 Each student was assigned one of a group of six campus sculptures Curzon had selected, part of top left: Andrew L. Arvanetes, Phoenix, H 84”, oxidized steel, before what former Arts and Sciences’ Dean James Yarbrough designated Manly Hall; Purchase Award winner, 1993 Alabama Biennial. top right: “The University of Alabama’s permanent outdoor collection.” Four George Beasley, Pent/La Buidhe Bealltain, H 80”, cast iron and cast bronze, located west side of Bureau of Mines Building; Purchase Award of the works were winners in one of the Alabama Biennials, out- winner, 1991 Alabama Biennial. Beasley’s work became part of the door sculpture juried exhibitions sponsored by the department Smithsonian Institution’s Save Our Sculpture project in 1993. bottom left: Joe McCreary, Goldie 1971, 2009, iron and steel; approx. L 23’; and the College of Arts and Sciences in the 1990s. The fifth sculp- 3-4 tons, purchased by the College of Arts and Sciences in 2010. ture, Argyle by Craig Wedderspoon, is centrally located in the de- Unless otherwise noted, all photos in this issue are by Rachel Dobson. Department news ~ stuDent spotlights questions to students about their assigned sculpture’s placement TORNADO PERFORMANCE ART? in the environment and its effect on the viewer to encourage their A few days after April 27, focused observations. (At the time the students made their obser- Amber Jones, BFA major in ceramics and sculpture, took vations, UA Facilities had not yet made changes to the Woods Quad these photos of her professor Sculpture Garden.) Craig Wedderspoon’s damaged Student Natalie Armstrong felt Goldie 1971 fit right in with sculpture. The note writers who its surroundings: “The proportion of the two work well together. found the wrecked art work at Woods Quad is probably one of the best places for Goldie to be the intersection of Hargrove and McFarland must have presented. There seems to be just the right amount of grass sur- assumed that the sculpture rounding it. If it were on the bigger quad Goldie would get lost.” had been blown all the way from campus, and so they returned it to campus. In fact, the tornado picked it up from a residence on Another student of Curzon’s, Lucy Bennett, had misgivings Hillcrest, a distance of about a mile and a third. about the rusting robot’s placement in Woods Quad with the more abstract sculptures (Wedderspoon’s Argyle and Billy Lee’s Homage to Brancusi). She assessed the problem: “The other pieces are highly abstract and Goldie is clearly a fallen robot. It readily in- vites a narrative while the others do not. I think that its placement definitely detracts from its meaning.” About its meaning, Armstrong said that Goldie’s placement on its side, “makes me feel like we only know half of Goldie, consid- ering [the other half] of it appears like it’s underground.” In her writing, she wondered “why the artist chose to lay it on its side instead of standing it up.” She continued, “The placement makes me think even more about its meaning and what others could pos- sibly think about it.” Undoubtedly, students and visitors have wondered about Gold- ie’s meaning or the ideas behind other sculptures on UA’s campus. ABOUT THIS ISSUE pril brought unexpected turbulence to Tuscaloosa, massive tear into our routine lives, Outside Art returns to its a and many of us are still reeling. Across Alabama, some “traditional” sense of art created outside the usual boundar- lost family members and friends in the tornadoes of April ies and disciplines artists work under. Jan Pruitt, Kentuck 27; many suffered physical injuries, some lost homes and Director, articulated well the importance of this kind of art: possessions. Although the UA campus was largely untouched by the storms, the campus community shares deeply in The capacity to make and appreciate art is one of the things that makes--and keeps--us whole and strong, fully the losses of all of West Alabama and farther afield. In the human. So when we’re challenged by dreadful circum- Department of Art and Art History, faculty and students lost stances, we need it more than ever to remind us that our homes and precious possessions. And we mourn the death suffering is shared and that we have hope for the future. of art major and Decatur native Morgan Sigler in the storm (see page 9). nd so, in this context of sharing and support, the mean- Before the storms hit, we had planned this issue to fea- a ing of Outside Art is stretched even more, to include ture UA’s outdoor sculpture and architecture. Now, as the art donated for the purpose of raising money for tornado outdoors around town have been altered so strikingly, this disaster relief. Department members, alumni, and friends Outside Art issue has grown to include “Outside Art” that have and will continue to participate in fundraising auctions, has taken on greater meaning. exhibitions and special sales. There will be more as this issue utside Art, of course, includes public sculpture around goes to press, and in the coming seasons, so please keep your ocampus and town. Now we may also include art created eyes open for Outside Art. --editor in response to the April tornadoes. And, in response to a SUMMER 2011 2 stuDent exhibitions ~ Faculty-staFF news If you are also wondering and would like to see more, come Transcendence, July 7-31. Kentuck has also organized a series visit us in person, OR visit us virtually. of ongoing silent auctions of work donated by artists with all proceeds going to the United Way of West Alabama Disaster Photos of many of the sculptures in this issue are Relief Fund for local use. Among the artists participating here on our Flickr pages: was Kerry Kennedy whose Twister Tumblers have benefited http://bit.ly/publicSculptureAtuA United Way. Pruitt reported that the June auction raised Click on a photo in Flickr to see if it is “geotagged.” $3,300. Or try the “iMap Flickr” map on our website: http://Art.uA.edu/Site/gAllerieS/uA-public-Art-mApped/. LISA MICHITTI CROSS, MFA 2005, was one of the origi- nal Toomer’s for Tuscaloosa Facebook group (an Auburn University tornado assistance group) to outside art for provide coordination and information for relief as- tornado reLief sistance for the April 27 tornadoes. Michitti Cross http://Art.uA.edu/Site/cAlendAr-of-eventS/Art-And-tornAdoeS/ initially managed Toomer’s Facebook page and estab- Almost immediately after the April 27 tornadoes, people lished its Twitter account and across Alabama and the US went to work to volunteer and to raise fielded questions about who needed help and what needed to be money for all sorts of relief assistance.
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