Sculpture finds temporary home in Whitman

A new sculpture suddenly appeared on Whitman College grounds this summer. While sculptures dominate the old portions of the campus — such as near Nassau Hall, East Pyne and Firestone Library — the installation of this sculpture was unusual because of its location in the Southern portion of campus and raised the question of how the University decides which sculptures to install and where.

The sculpture, by artistBeverly Pepper, was installed in Augustas a five-year loan from an anonymous donor, according toLisa Arcomano, manager of campus collections at the University Art Museum. She added that the anonymous donor hasan important relationship with the University and is a friend of the museum.

“The monumental scale of the Whitman piece was well-suited to the wide open spaces in front of Whitman College,” University Architect Roy McCoy said, adding that he had an eye on a piece of art for that area for a while.

TheCampus Art SteeringCommittee,a committee under the Office of the Executive Vice President that strategizes and designate locations for various works of art,decided on the sculpture, titled Thetis Circle, after examining various works in the donor’s art collection, aware that Pepper was particularly excited to display her work on the University campus.Currently, the committee is led by co-chairs James Steward, director of the Art Museum, and McCoy. Other committee members include Kelly Baum, Haskell Curator of Modern and Contemporary Art, Professor of Art and ArchaeologyEsther da Costa Meyer and Arcomano.

After that decision, the Committee set out to work on selecting a space for the sculpture.

Because most artwork is currently displayed around the historic core of the campus, this provided a great opportunity to spread art to a different part of the grounds, McCoy said.

He emphasized that sculptures are distributed across campus depending on the sculpture’s suitability to the particular location.

There are two methods by which sculptural pieces are added onto campus, according to McCoy. The first process pertains to site-specific commissioned projects, in which case the Committee meets with constituents and leaders of the project to understand their goals and visions for the new building or space. Then, the committee, particularly Baum, works to identify artists whose work may form a uniquely strong and thematic connection to the project.

After compiling a list of eight to 10 artists, the committee shortens the list to a maximum of eight artists. Baum then leads a meeting with the committee and stakeholders to discuss each artist.

After submitting the short list to University President Christopher Eisgruber ’83 and Executive Vice President Treby Williams ’85, the committee begins communication with candidates most interested in the project, sending them all necessary materials, such as building blueprints.

Arcomano said the Committee sets deadlines for the artists to submit non-binding, narrative proposals for the site. These are presented to stakeholders, as well as to Williams and Eisgruber again, to reach a final decision.

Generally, within several weeks of the decision, the committee will contract the artist, after which occurs the design development, production and final installation of the artwork.

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Contracts generally last two to three years,Arcomano said, adding that the University has not contracted the same artist for a site-specific commission in the past seven years.

Current commissioned projects involve construction projects such as the economics and international initiatives buildings and the Lewis Center for the Arts.

Other sculptures and artwork, including the recent sculpture placed near Whitman, displayed on-campus are an extension of the Art Museum’s collections, either as permanent donations or short-term loans, McCoy said.

Having two faculty members chair the committee in a joint effort made sense, McCoy said, noting that while Steward and his staff members provided the curatorial expertise on art, McCoy focused on campus planning in a way that enhances the general character and quality of the University campus.

McCoy said that the committee members generally come to a consensus without much disagreement.

The committee, created in 2011, mostly commissions modern works of art, although in the end, choices are made depending on the specific site. Before the committee was created,Arcomano said Facilities would cooperate with the Art Museum to execute these projects.

Although students on the whole have been very respectful of the artwork displayed around campus, Arcomano said there are sometimes marks and damage to them.

“It’s a nightmare when I see footprints on the art, or that red paint on the same areas of campus once a year,” he said. “Some of these things are priceless assets, they are beautiful. And sometimes, we have to take a few things back because of the damage.”

Arcomano said that the committee receives steady-state funding from the University, of which a portion is dedicated to assessments and conservation and care for the artwork. The rest is used for maintenance of the website and paintings placed on campus outside the museum.

Malachi Byrd ’18 expressed his enthusiasm for more interactive art that serves more than just the purpose of aesthetics.

“I think it brings out the value of it a little more, and at least the people’s appreciation,” said Byrd.

The estimated range of values for the works of art around campus falls anywhere from tens of thousands to millions of dollars each, Arcomano said.

“We are talking about some of the greatest artists of the 20th century. Some of the newer works that we’re commissioning at some point will have that same kind of value,” he said.

Erik Maritz ’17 said the campus art definitely contributes to the student experience.

“But I can’t help thinking of how the money might go to something more utilitarian as well,” he said.