Throughout the years, Western Washington University’s sculptures have undergone much weathering and shaping. Western’s renowned art has not only weathered the times, but even reflects them. In fact, Western students were a piece of putting the puzzle together.
From the big pieces that cause gossip when a freshman first steps on campus, to the little pieces that guide us to class, hints of student creation are scattered throughout the school.
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Even those early morning walks to class across the bricks uncover hidden art, as some of the bricks have sneakily been replaced under the instruction of Western’s own ceramic teachers in a project to decorate them. Students would complete their project under the cover of night to avoid the fine threatened by the University Police, according to Paul Brower, the Western Gallery Interim Director.
Another piece that received a helping hand from students was "The Man Who Used to Hunt Cougars for Bounty," which was carved by artist Richard Beyer and a handful of students.
“Honestly, I have to admit, I used to think this statue was a little more controversial then the reunion of a man and a cougar. A lot of people have some other idea in mind,” said Devin DeGagne, a sophomore at the university. While students may have carved this piece, it has caused a stir among others in regards to the symbolism behind it.
A more vibrant yet highly interpreted sculpture, "Cause and Effect" by Do Ho Suh, was also assisted by six or so other students in the stringing process. Much of his work revolves around supporting each other in life, something that is very reflective of Western’s mission statement and attitude.
Student participation began to emerge around the 1970s. It was a time of big construction while population boomed in Washington State and students wanted a say in the governance and shaping of the campus, according to Brower.
Students have not only helped shaped the art itself, but because of their interactions with the sculptures, they have also been an accomplice to the inevitable weathering of outdoor statues.
Brower estimates that a full clean-up of sculptures would cost about $500,000.
The sculptures themselves are intended for such interaction, causing Brower to rethink the harsh chemicals used in the preservation process for Lloyd Hamrol’s "Log Ramps," which, among other pieces, was designed for people to sit on.
"For Handel," by Mark di Suvero, the red sculpture in front of the Preforming Arts Center, used to have additional pieces. That is until a group of football players hoisted on to the metal loop that was once attached to the sculpture, leaving a dent and a safety hazard, soon resulting in its removal. Despite this, climbing and balancing is still a sunny day tradition among many students.
In fact, vandalism accounts for $15,000 to $20,000 of the budget each year. The graffiti itself varies depends on the political climate in the country; if a war or notorious police shooting arises, so does the graffiti.
With such a hefty cost for student retaliation, one may think the repercussions would be intense, but in fact it is viewed in a much different light whenever this problem arises. Brower addressed the issue of student vandalism by quoting a former, unnamed university president.
“ ‘We do what I do whenever there is a problem on campus. I remind myself that these are our children and we love them,’” Brower quoted the president as saying.
“I view that whenever there is a protest, people get emotionally involved and they should. It’s as much of the college experience as anything else,” added Brower.
While the sculptures in the collection were intended for the enjoyment of students and even created with them, students have played a role in their deterioration. But this may be a part of the natural cycle. Whether students are lounging, studying, procrastinating, or perhaps even defacing the sculptures, there will always be life around this art.
