One of the destinations of the daily 10,000 step walks my sister and I take is Atwater Park in Shorewood, where one of my favorite pieces of public art sits waiting for us. It is called “Spillover II” by a Catalan artist named Jaume Plensa (thank you, google). Take a look for yourself.
The artist explained his use of letters by saying we use language to commune with nature and the world, or something like that, which is very nice, but I have my own ideas. I see a guy who consists of a jumble of amorphous, incomplete thoughts swirling around inside and outside of him. As he stares at the water, concerns begin to drain away, slowly emptying his faceless, everyman head. The way he sits, hugging his legs, makes him slightly vulnerable, but the upright head puts him squarely in the world. It fascinates me to think how different the impression would be if that head were bowed, making him looked scared or fetal-like. As is, he’s got more communing to do and he’s going to stick around for a while.
I get the impression he is fairly universally loved by the local people, but, of course, it wouldn’t be art if there were no controversy. Some tourist inspected him, “discovered” the secret message “dead jew” among his ostensibly random letters, and then blogged about it. Scandalous! Outrage! To jump to the end of the story, the artist graciously offered to alter his piece, exchanging a letter or two, so that it could no longer be “misinterpreted”. (Correcting my misinterpretation would probably require more major changes, so I hope Jaume never gets wind of this post . . . )
While on the subject of public art, I’ll add another fairly recent addition to Milwaukee’s collection – one that clearly falls at the other end of the aesthetic spectrum.
Meet the (monstrous) “Bronze Fonz”:
I think I’ll skip the interpretation of this one and move right to the scandal. Some art director complained and said he would move his gallery if the Fonz went up near it. When that made the news, the phone calls started coming. The art director then recorded some of these messages – which he called “death threats” – and put them on a website. (http://www.hotcakesgallery.com/milwaukee-bronze-fonzie/) Three of them come from 1) a homophobe who somehow sees the statue critique as an insult to the Green Bay Packers, 2) a Canadian who is now seriously considering not coming to Milwaukee, and 3) the Fonz himself (sort of). At first I was a little wary about clicking on “Listen”, but then – as I should have guessed, this being Wisconsin – they were pretty tame. (What does it mean to “end like Dahmer”?) Still, it is beyond my comprehension how some people have the inclination, energy or time to be leaving insulting messages on a stranger’s voicemail. Henry Winkler would not approve.
The end of this sad story of schlemiels (“Schlimazel! Hasenpfeffer Incorporated!”) is that some musicians remixed the messages and set them to catchy beats. They made me laugh, but now I have this silly and bizarre song stuck in my head. “Gay boy. Dahmer gay boy. Gay boy. Go away . . .”
I think I need to go back to Atwater and look out over the lake for a while.