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<br />-rr <br /> <br />~ <br /> <br />,..~.,.; <br /> <br />, .' ';i'::~1 " <br />~.~.'~ , <br />III. ...'......:........1. " ...............~'.'..,.;..... <br />. .~;v. <br />.. ..""... <br /> <br />".\ ". .",j Ie <br /> <br /> <br />Figure 12, <br />Columns, artist Walter Dusenbery <br /> <br />Figure 13, <br />"Red Travertine," artist Walter Dusenbery <br /> <br /> <br /> <br />f$: <br />.~ <br />-~~~i <br /> <br /> <br /> <br />",. <br />~. <br />~', <br /> <br />''oj, <br />'~,'-."~ <br />Il!t...: -, <br />....--.,;.. <br /> <br />~'"~ <br />~~. <br />~,.;. <br />..'S-,;, ' <br />;;!"~....",.. <br /> <br />.~ <br /> <br /> <br />~. 7' ..:-~:~~:!:, <br />~ <br />.~-~~~ <br />-.", <br /> <br />IPI <br /> <br />, <br />n <br /> <br />, J!P.! <br />II <br /> <br />~i;~ <br /> <br />~ <br /> <br />it,., _.;.- <br /> <br />~~' <br /> <br />..-c:.Ao.....;-~-'t._., <br />-" . it" "'.';)E: <br />t:'ll:,_' ..,;.V <br />. ~; _''':-~~::1 <br />!-"l_'~~'~~ <br /> <br />.. <br /> <br />Figure 14. <br />"Lopeglia", artist Walter Dusenbery <br /> <br />more layers of rock but with the hand of man upon them <br />- in the form of petroglyphs as the column of rock rises, a <br />monumental totem is formed. This column could be seventy <br />feet high with the final layers bringing us to modern times. <br />It would add some color and serve as a kind of cap if the <br />designs of the fruit box labels from the 1920s and 30s were <br />formed in ceramic tiles and added to the top. There might <br />be a kind of finial in the form of salvaged chrome from the <br />nearby junk yards. There is a Colorado artist known to people <br />at the museum who is currently working with metal forms <br />that he fastens to rock walls which evoke the old petroglyphs. <br />There are also a number of artists who work with rock forms <br />who could realize this totem project. The notion of a collabora- <br />tion between several different artists working as a team might <br />be the subject of a gateway competition funded through the <br />Art in Public Places program of the National Endowment for <br />the Arts with support from the Design Arts program. These <br />two programs have recently decided to jointly fund some <br />projects and this kind of work which meets urban design objec- <br />tives yet also requires the imagination and sensibility of the <br />fine artist may be a place to start. <br /> <br />Temporary Sculptures on the River Bank <br /> <br />The concept of encouraging Colorado artists to do junk <br />sculptures is based upon the premise that it is important to <br />stake an artistic claim on the area as early in the design process <br />as possible. One can recall the whimsical effect of the drift- <br />wood and cast-off sculpture along the marsh lands of Oakland <br />as it fronts on San Francisco Bay which has attracted so much <br /> <br />25 <br />