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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Nov. 9, 1999)
TOP: “OLD GLORY,” by Mark dl Sinara mnrimwiH fhn Snaricsui (fan WWW. W, I W|K wOwlllO UK NIBIIMH IMJ| with Its red stripes against a blue sky and white deads. The werk was acquired by the Sheldon Memorial Aft Gallery through funds from the Olga H. Sheldon Acquisition Dust and Friends of the Sheldon. ABOVE: “TORR NOTEBOOK,” which sits on the northeast comer of 12th and Q streets, symbolizes learning ana ronoGis ma arnsio ivnprossioiB of Lincoln. Created by Claes Oideahvg and Coosje van Bruggen, the work was comrissieaed by the SheMea Manorial Art GaHevy and paid far through funds from the Olga H. Sheldon AcquisiUen Itust and Friends JAY TSCHETTER created his 1991 brick sculpture, “Ires Horse Legacy,” ever a twa-anath period. The work, located In Iren Horse Park at 7* and Q Financing Fnnds. The streets of Rome are tighter than most alleys in the United States. Like a labyrinth, they wind in and out of buildings washed with time’s endearing but sometimes destructive brush, and they present an over whelming amount of sights, sounds and smells for any traveler to experi ~ cnee. * Along the way, one can see stories illustrating the culture’s colorful past. It’s a culture’s identity told through a city’s art. In Lincoln, a similar voice can be heard, but on an obviously different scale. And who pays for these emblems of culture is often a point of contention. Public art is scattered throughout the city, reflecting Nebraskan her itage while inspiring and challenging Lincoln1!; inhabitants every day. Atop die Capitol, a solitary sower defines a city’s Skyline. At the build ing’s base, a somber statue of Abraham Lincoln remembers a coun try’s past. In the Haymarket, a locomotive springs to life and brings with it a bygone era, while on the campus of the University of Nebraska-Lincoln, Mark di Suvero’s “Old Glory,” a colossal combination of steel and space, illustrates Lincoln’s modem advances. “In my opinion, public art is an important ingredient for the quality of life. We’ve come to expect it from all the great cities,” said Margaret Berry, executive director oflhe Lincoln Arts Council. “It’s as impor tant as libraries, schools and roads.” Because of her enormous role in the Lincoln Arts Council, a nonprofit organization dedicated to advocating and educating about the Lincoln arts scene, Berry has firsthand experience with every aspect surrounding public art It’s a cause she proudly supports. “I’ve been banging on the public art drum for seven years,” she said. “I ELLIS BURMAN created the concrete sculpture “SMOKE SIGNAL,” located in Pioneers Park, in 1935. hope the time is right for the citizens of Lincoln to start clamoring, too.” The reason Berry sounds like such a lobbyist is simply In many ways, she is one. And by constantly battling to raise awareness and funds for Lincoln’s public arts, Berry has developed some fantasies. “My fondest dream would be if Mayor Wesely and the city of Lincoln would say, ‘Hey, this is important,”’ Berry said. “Many of our public and great municipal buildings are com pletely devoid of any concern for the aesthetic experience. And yet, you’d think these buildings would be the first place you’d find it, because they serve every citizen and our city’s visi tors.” One of the main reasons for any aesthetic holes in Lincoln’s cityscape is the fact that there is no budget set aside by the city solely for the pur pose of acquiring public art. This puts the weight of paying for the art cm the Please see DEBATE on 13