Fall has arrived and, to those that know, Merrill still looks naked. For now, "Variations" lies in storage behind the Physical Plant warehouse by the Hills Lot. Director and Chief Curator of the Mead Art Museum Elizabeth Barker explained that the metal at the sculpture's base has rusted so thoroughly that it would be dangerous to the piece to return it to its original place in its current condition.
The sculpture was originally donated to the College in 1978 by Winifred L. Arms, widow of Robert Arms '27 and the namesake of the Arms Gallery in the Mead Art Museum. Made of painted stainless steel, the piece is approximately 10 feet tall and had been mounted on a granite base, which still remains outside the science building.
In "Sculpture at Amherst Given a Second Look," an article published in the Nov. 7, 1985 issue of The Student, Kathy von Ankum lauded the aesthetic merit of the sculpture. "Try to picture Merrill without it!" she exclaimed. "It would be a brick fortress. The free flowing movement of the steel sculpture helps soften the austerity of the building. While the building appears static, the sculpture is constantly creating an image of textures and movement."
Students who remember the statue in its former state give it mixed reviews. Han Gwon-Lung '10 mentioned that he misses the sculpture. Sam Schiavone '10, on the other hand, asserted, "[The statue] wasn't that great. It was monochromatic and not terribly interesting."
As for now, however, the future of the piece remains unclear. As Ms. Barker pointed out, an effort to restore the statue may mean drastically altering the piece itself. If there is an attempt at repair, "we would need to check with a professional conservator," she explained, in order to determine if the sculpture should be outside at all.
The debate over this piece, though, may help stimulate discussion as to how the College should handle outdoor works of art in general. The College has "no official policy yet about how it will handle works in the public sphere," according to Barker. Discussions are now beginning as to whether or not Amherst should make a concerted effort to take care of its public art. Any such plan for Jacques' sculpture would be costly, however, because "in the long term, it is very expensive to take care of [such] works of art."
Barker is also hoping for a larger discussion, both within and outside the College, about public art, its purpose, and whether or not it is worth the investment to protect it. She would love to hear student feedback regarding these issues, especially given the College's impressive collection of outdoor sculptures and statues.
Though these discussions are starting, "Variations on a Theme, II" will remain in storage with an unclear future. As Barker mentioned, "I think there's something wonderful and democratic about public works of art." Whether or not it is worth the investment to save "Variations" remains to be determined.