Tag Archives: Grounds for Sculpture

Princeton Cop: in Dallas, Doing WHAT?

cop 1545162832-CTCopStatue_06
Photo by Carli Geraci, Dallas Morning News

You could take this as another example of how the whimsical statues of Seward Johnson can amuse passersby all over the world.

The work of the 88-year-old sculptor, J&J heir, and founder of Grounds for Sculpture is scattered all over Princeton. At Princeton hospital, the figures of the caregiver tending the little old lady always give me a start, no matter how many times I’ve encountered them.

In 1983, using a Princeton police officer as a model, Johnson fashioned a statue of a nearly six-foot cop writing a parking ticket. Titled “Time’s Up,” it is one of seven castings, and it was installed at a Dallas shopping center, Central Market, by Lincoln Property Company.

How cute, you might say, especially since another whimsical touch, the eggplant, is nearby.

But since social justice is one of my concerns, I think there could be another motive. If you were an undocumented person — down there in Texas country — how would you react?

Is this just an update of Confederate statues meant to intimidate?

Thanks to Brendan Meyer for the light-hearted reporting, and the amusing details are here. The paranoid insinuations are mine.

(Aside to Princeton residents, don’t worry about current cops issuing parking tickets until after Christmas or even January. According to my ‘reliable sources,’ because of the confusing new system,’ the meter cops are issuing only warnings. But don’t tell the tourists — we need the revenue.) 

 

Advertisements

Towers, teapots — and boathouses

Michael Graves in his studio DSC_0043 ret, 13 inches wide, credit Jon Naar, 2011 (1)

You probably read the New York Times  “designer of towers and teapots” obituary on Michael Graves, who died yesterday (3-12-15) at 80.

You probably did not see this excellent video of Grounds for Sculpture’s Tom Moran reminiscing about Graves, taken yesterday by Times of Trenton’s Michael Mancuso. Grounds for Sculpture has a 50-year Graves retrospective running through April 5.  Everybody is talking about their Michael Graves memory.

Early in my tenure at U.S. 1, Rich Rein assigned me to write a cover story on Graves. In the early days, U.S. 1 was a monthly, then biweekly, and cover stories ran at least 5,000 words.

The only way Graves could fit me into his schedule was for me to accompany him on a 6 a.m. Amtrak train to Washington, D.C., so Rein agreed to buy my business class ticket.

Bleary eyed, notebook equipped, I met the courtly Graves on the Princeton Junction platform. Two of the things he said stay with me today. He was telling about his upbringing. “I guess your mom was proud of your drawings and put them on the refrigerator?” I asked. His answer was . . . pause, “No.”

I thought that was a poignant comment and made a mental note to visibly appreciate my own children’s talents more.  At that point in his career, though the Humana building was up, and the Disney hotels were in the works,  no significant buildings carried the Graves signature in Princeton. Just a couple of house designs. It took a long time before a major Graves postmodern design, for the Arts Council of Princeton, would make it to the streets of his home town.

In any case, it was a heady moment for me. Until I joined the staff of U.S. 1 in 1987,  I had been a dance writer. I had interviewed famous dancers, but never an architect, let alone a famous architect.

Then, as  the train pulled into Philadelphia, Graves called my attention to the boathouses along the Schuylkill River. “Each is a different style, each a gem,” said Graves, of the 19th-century designs, noting that he assigned boathouse design to his Princeton classes.

Baltimore is my home town. I  got off in Baltimore and taxied to see my mother.  I made that train trip monthly for more than  a decade. Remembering that morning, I always craned my neck to catch a fleeting glimpse of the Schuylkill boathouses.

Photo by Jon Naar, U.S. 1, January 26, 2011.
That story “Called the Architect for the ’90s, but his work is invisible here,” was published on November 29, 1989, soon after U.S. 1 Newspaper had gone from a monthly to a biweekly. The paper has published many stories on Graves since that time, searchable in the archives.