►
From YouTube: Artist Donald Lipski on "The Pike"
Description
Public artist Donald Lipski discusses his proposed sculpture, "The Pike", at the Arlington Public Library in Arlington VA. "The Pike" will be part of the west Columbia Pike Gateway project and is sponsored by Arlington County Cultural Affairs.
A
A
This
is
a
a
wonderful
turnout
and
I
was
looking
at
the
sign-in
sheets
and
saw
that
we
have
representation,
not
surprisingly,
mostly
from
tu-204,
so
the
Columbia
Pike
area,
but
I
also
saw
zip
codes
representing
the
Metro
East
section
of
Arlington
I
saw
a
North
Arlington,
zip
code
at
Crystal,
City,
Pentagon,
City
area,
zip
code,
also
central
North
Arlington
in
the
Boston
Westover
area.
So
we
truly
are
convening
a
lot
of
people
for
this
artist.
A
On
the
western
end
of
Columbia,
Pike
and
I
am
very
interested
in
having
and
being
a
part
of
a
community
conversation
about
what
is
a
very
unique
piece
of
art
and
a
unique
opportunity
for
us
to
hear
from
the
artist
by
way
of
a
little
bit
of
background.
Arlington
is
home
to
more
than
60
permanent
public
art
projects,
and
we
come
by
these
projects
in
a
variety
of
ways.
Some
of
them
are,
you
know
these
are
commissioned
to
be
integrated
into
various
capital
projects,
as
is
the
case
with
this
one.
A
It's
part
of
a
larger
what
we
call
a
multimodal
project,
looking
at
realigning
transportation
and
putting
in
some
infrastructure
on
the
western
end
of
Columbia
Pike.
It
also
comes
through
the
private
development
process,
where,
even
though
developers
are
pursuing
the
redevelopment
of
private
spaces,
we
as
a
fundamental
tenant
of
Arlington,
a
fundamental
baseline
of
participation
require
that
that
private
development
creates
some
public
spaces
and
public
art
is
the
central
component
of
that.
A
We
also
have
various
other
processes
of
development
whereby
we
achieve
the
goal
of
realizing
public
art,
and
it
also
happens
through
the
commissioning
of
work
directly
by
members
of
our
community.
Now
for
this
project
in
2013,
Donald
Lipsky
was
selected
to
create
a
piece
of
public
art
for
our
Western
gateway,
our
southwestern
gateway.
So
to
orient
you,
if
you
go
all
the
way
to
the
western
end
of
Columbia
Pike,
where
it
meets
Jefferson
Street,
that
is
the
subject.
A
Area
right
across,
of
course,
is
Fairfax
County,
and
this
project,
like
I
said,
is
just
a
few
blocks
from
where
I
live,
and
it
will
be
something
that
will
be
seen
by
presently,
primarily
motorists
or
people
riding
in
buses
as
they
come
into
Fairfax
or
as
Arlington
Ian's
leave
the
county
going
to
the
southwest.
So
it's
a
very
prominent
place,
one
that
is
extremely
important
and
serves
as
a
central
place
of
identity
or
could
serve
as
a
central
place
of
identity
for
South
Arlen,
tony
ins.
A
Now
this
is
something
I'd
like
to
just
say
generally
about
art.
It
is
inherently
subjective,
as
we
all
know,
different
people
look
at
it
in
very
different
ways.
By
virtue
of
getting
ready
for
tonight,
I
was
doing
a
little
research
into
what
into
the
way
artists
that
we
venerate
today
were
viewed
by
their
contemporaries
and
was
somewhat
surprised
to
learn
that
the
likes
of
Gauguin
Rodin
on
read
that
Toulouse
Lautrec
Monet.
A
These
were
people
who
we
venerate
today,
but
were
derided
unappreciated
or
not
popular
during
their
time.
Now,
only
time
will
tell
whether
or
not
Donald
Lipsky
is
viewed
in
the
same
regard
as
those
of
enter
ated
artists,
but
he
is
something
a
little
bit
different
than
that.
He
is
a
noted
public
artist
and
as
part
of
that,
his
work
is
designed
to
really
react
to
an
interface
with
the
community.
A
So
tonight
we
have
a
great
opportunity
to
hear
directly
from
him
about
the
inspiration
for
his
work,
the
thinking
that
went
into
it
and
how
he
expects
us
as
the
public
to
understand,
appreciate
and
interact
with
it.
But
before
we
hear
from
Donald,
I
am
gonna
turn
it
over
to
Arlington's,
director
of
public
art,
angela
adams,
who
is
going
to
tell
us
a
little
bit
more
about
the
process
for
a
commissioning
public
art
in
arlington,
and
she
will
then
in
turn
formally
introduce
Donald,
Lipsky
Angela.
B
Thank
you.
Thank
you
very
much,
mr.
Dorsey,
and
for
your
support
of
this
project
and
for
agreeing
to
moderate
this
evening.
I
want
to
also
thank
our
partner
in
libraries
for
helping
us
present
this
opportunity
to
this
evening
and
I
also
want
to
just
point
your
attention
to
some
other
programs.
We're
going
to
be
doing
right
here
in
the
libraries
cultural
affairs,
the
agency
I
work
for
does
more
than
public
art.
B
I
also
want
to
say
we
do
do
two
artist
talks
from
time
to
time
this
week,
we're
doing
two,
so
we
have
tonight
and
if
you
aren't
sick
of
artist
talks
by
the
end
of
this
evening,
we
invite
you
to
come
to
hear
artists
from
spain
come
and
speak
about
their
project
in
the
courthouse,
a
neighborhood
at
11
o'clock
on
the
saturday.
We
also
have
a
closing
party.
B
That's
all
announced
there
towards
the
end
of
october,
so
I
want
to
also
thank
some
other
folks
who
are
here
today
who
were
integral
a
very
necessary
part
of
our
of
our
process,
and
that
is
the
artist
advisory
panel.
So
Christian
asked
me
to
talk
a
little
bit
about
how
we
go
about
commissioning
public
art
and
what
I
will
say
is
that
the
public
art
program
is
this
year.
33
years
old,
we
started
as
a
developer
initiated
program.
B
The
County
Board
passed
a
policy
for
public
art
in
2000
that
man
had
mandated
us
to
create
a
public
art
master
plan
which
we
did
in
2004
and
we're
in
the
process
of
updating
now.
So
we
ask
you,
if
you
have
any
interest
at
all
in
participating
in
that,
please
let
me
know
or
Deirdre
know
and
will
let
you
know
the
opportunities
for
engaging
in
that,
but
that
will
be
going
to
our
Commission's
slowly
over
the
next
couple
of
months
and
we're
looking
to
update
that,
hopefully
with
the
new
board
next
year
early
next
year.
B
So
as
part
of
our
program
as
Christian
mentioned,
we
have
projects
that
come
through
private
development.
We
have
projects
that
come
as
part
of
County
initiated
projects,
be
they
new
buildings,
open
space
or
infrastructure,
and
then
we
also
have
community
initiated
projects.
We
have
some
folks
who
are
working
with
us
to
do
some
murals,
especially
down
in
the
formal
run
Valley
area.
B
Currently,
so
we
act
as
in
an
advisory
capacity
when,
when
there's
interest
there,
so
when
we,
the
county,
thinks
about
commissioning
a
new
work
of
art,
it's
generally
tied
to
a
capital
project,
we
don't
run
out
and
build
30-foot
40-foot
art
on
our
own.
Typically,
it's
integrated
into
some
larger
capital
project.
In
this
case,
it's
the
Western
gateway
multimodal
project,
which
is
at
the
intersection
as
Christian
mention
of
Jefferson,
Street
and
and
Columbia
Pike.
B
So
when
the
community
decided
that
they
wanted-
and
this
goes
back
to
the
form
based
code-
those
of
you
who
are
around
for
that
and
folks
who
wanted
to
mark
that
Western
gateway
with
something
special.
It
was
thought
back
then
to
do
public
art,
and
so
when
the
time
came
around,
to
do
a
capital
improvement
streetscape
project
in
that
area.
That's
when
we
remembered
that
you
all
asked
for
public
art-
and
we
picked
up
the
theme
and
and
worked
with
that
capital
project
to
plan
for
the
art.
So
we
did
a
national
search.
B
Somebody
reminded
me:
we
had
22
folks
who
were
finalists
for
the
project.
We
brought
together
an
art
advisory
panel,
and
these
are
the
folks
I
wanted
to
acknowledge.
We
have
into
malleus
who
participated.
Audrianna
torus
is
here
this
evening:
Lily
Muncie
I,
don't
know
if
she's
here
tonight
or
not
Tom
Ashcraft,
who
was
our
outside
arts
professional,
takus,
current,
honest
who's
here
and
also
we
had
staff
member
Bill,
Robertson,
Mike
Garcia
for
the
Fairfax
actually
side
of
things,
because
we
were
right
on
the
line
there
and
wanted
to
work
in
a
cooperative
fashion
with
Fairfax.
B
So
this
group
of
folks
helped
us
review.
The
22
are
folks
who
applied
for
this
project
and
then
narrowed
it
down
to
Donald
Lipsky,
who
we
then
invited
to
be
to
Commission
the
project.
The
Donald
then
went
through
a
concept
stage,
but
before
that
happened
he
came
and
he
visited
and
met.
Many
of
you
did
a
lot
of
research
along
Columbia
Pike
and
came
up
with
a
concept
which
he's
going
to
tell
you
about
tonight
in
the
context
of
his
work.
B
So
you
understand
a
little
bit
more
about
Donald
the
the
proposal
for
Columbia
Pike
and
also
how
Donald
thinks
how
he
comes
up
with
these
with
these
ideas.
But
it
was
working
with
this
artists
advisory
panel
that
we
made
this
decision
to
work
with
Donald
and
to
go
with
this
concept.
So
without
further
ado,
I
will
introduce
Donald.
B
Lipsky
I
will
say
that
our
collection
features
as
many
local
artists,
as
it
does
well-known
artists
from
elsewhere
and,
of
course,
Donald
falls
in
that
camp
Donald
is
originally
from
Chicago
he's
the
son
and
grandson
of
bicycle
dealers.
He
was
a
history
major
and
anti-war
activist
at
the
University
of
wisconsin-madison.
B
He
first
discovered
ceramics,
while
working
with
ceramics
legend,
Don,
writes
and
pursued
an
MFA
in
ceramics
at
the
Cranbrook
Academy
of
Art
in
the
1970s
Donald
moved
to
New
York
gained
recognition
with
his
installation
gathering
dust,
which
first
appeared
at
artists
space
in
1978
and
then
moved
to
the
Museum
of
Modern.
Art
Donald
is
a
three-time
National
Endowment
for
the
Arts
grantee.
He
became
a
Guggenheim
Fellow
in
1988.
He
was
honored
by
awards
from
the
American
Academy
of
Arts
and
Letters.
B
Also
for
those
of
you
familiar
with
Convention
Center
in
DC
and
the
collection,
fine
collection
that
they
have
there
of
public
art,
he
did
a
piece
called
five
Easy
Pieces,
which
is
great
fun
and
I,
encourage
you
to
go
visit
it.
If
you
don't
know
it
so.
Donal
will
now
tell
us
more
about
his
work
and
how
he
arrived
working
with
the
community
for
the
concept
for
Western
gateway.
D
C
Well,
it's
it's
great
to
be
here
talking
to
you
all
all
of
you.
The
hardest
thing
for
me
is
talking
loud
enough
for
all
you
to
hear,
while
I'm
in
a
library,
because
it
seems
like
I
ought
to
be.
You
know,
that's
my
sister's,
a
librarian,
I
love,
libraries,
I've
done
some
pieces
for
libraries,
and
it's
it's
great
to
be
here.
I've
made
a
few
visits
to
Arlington
and
you
know,
while
you're
a
complex
community
and
I,
don't
begin
to
really
know
about
you.
Everything
that
I've
seen
in
Arlington,
I've,
loved
I,
think
you're.
C
A
great
great
town.
I
was
just
saying
to
Angela
for
a
town
this
size,
a
couple
hundred
thousand
people.
You
have
so
much
public
art,
it's
astounding,
you
might
have
more
public
art
per
person
than
any
place
in
the
world,
so
I
think
I've
got
yeah
there.
We
know
I
could
do
it.
Thank
you.
Let's
see
how
this
works.
Oh
yeah,
there
we
go.
Okay,.
C
Most
of
my
career
was
making
work
for
for
galleries
and
museums,
and
that
sort
of
thing
and
the
last
couple
decades
I've
really
turned
my
attention
to
making
art
for
the
public
because
I
like
the
idea
of
having
the
whole
world
for
an
audience,
rather
than
just
people
who
are
going
to
galleries
and
museums.
This
is
not
my
work.
This
is
Marcel
Duchamp,
who
was
a
great
influential
artist
from
the
early
part
of
the
20th
century.
He
was
French,
although
he
became
an
immigrant
and
moved
to
New
York
later
in
his
life.
C
One
of
the
things
he
is
known
for
is
he
would
just
take
an
object
and
plunk
it
down
and
say
this
is
art,
and
this
had
a
big
effect
on
me.
I
was
doing
this
sort
of
thing
before
I
knew
of
him,
but
when
I
went
to
art,
school
I
started
to
learn
about
him.
At
any
rate,
this
was
a
bottle
drying
rack
that
he
took,
and
he
said
this
is
art
and
he
signed
his
name
on
it
in
like
1912
or
something
I
was
down
in
Texas
and
in
an
antique
shop.
C
I
saw
a
bottle.
Rack
like
his
and
I,
took
it
to
a
saddle
maker
and
had
him
cover
it
in
hand-stitched
leather,
and
so
that's
that's
that
during
my
career,
a
lot
of
what
I've
done
is
working
with
objects,
just
taking
objects
that
that
had
some
resonance
for
me
and
putting
my
spin
on
them
and
trying
to
make
them
in
into
artworks.
This
bed
is
filled
with
candles.
C
There's
a
$20
bill,
I
erased.
Parts
of
this
is
the
piece
I
I
did
at
the
Corcoran.
It's
two
American
flags
that
intersect
that
are
made
out
of
silk
chiffon
and
then
we're
over
dyed
with
black,
so
it
had
sort
of
a
sombre
feel
to
it.
The
Corcoran
owns
this
and
after
9/11
they
reinstalled
it
which
was
moving.
For
me.
C
This
is
the
piece
at
the
DC
Convention
Center,
my
father,
being
a
bike
dealer.
When
I
went
to
convention
centers
as
a
kid,
it
was
to
the
bike
show
to
the
sporting
goods
show
to
the
Toy
Show.
It
was
all
about
fun,
so
asked
to
make
a
piece
of
the
Convention
Center
I
made
pieces.
Out
of
what,
for
me
were,
were
things
of
joy?
You
know
like
bicycles
and
guitars,
kayaks,
tennis,
rackets,
barstools,.
C
C
These
are
like
civic
clocks,
like
would
be
in
a
town
square,
that
I
put
these
three
clocks
together
for
a
bus
terminal
in
El
Monte
California,
which
is
the
farthest
west,
the
farthest
East
reach
of
the
LA
metro
bus
system.
This
is
a
library
in
San
Diego.
They
have
a
big
auditorium
even
bigger
than
this
one
and
I
lines,
the
the
wall
with
books,
it's
pretty
straight
ahead.
C
So
thinking
about
what
to
do
here
at
the
pike
I
started
with
the
idea
of
a
pike.
A
pike
is
a
medieval
weapon.
That's
on
the
end
of
all
along
Paul
I.
Don't
think
they're
they've
been
used
as
weapons
for
a
long
time,
but
they're
still
used
ceremonially
like
here,
the
the
Pope's
Swiss
Guard
carries
pikes,
and
even
these
ones
with
fancier
stuff
going
on.
They
call
pikes.
C
They
use
pikes
as
as
flag
poles
and
put
finials
on
the
top
of
flag.
Poles
like
a
pike.
Pike's
are
tools
that
all
sorts
of
people
use
in
different
walks
of
life
and
that
they
call
pikes.
These
are
loggers.
Firemen,
fishermen
boaters
a
lot
of
people
use
pikes,
but
the
pike
I'm
talking
about
here
is
this.
C
C
This
is
the
Columbia
Pike
back
in
the
20s.
The
Columbia
Pike
started
by
Congress,
decided
in
1810
that
they
should
really
improve
the
roads
that
come
into
DC
and
they
gave
money
for
a
few
different
roads,
the
pike
going
to
the
to
the
west
and
to
the
southwest
and
this
pictures
in
in
the
20s
before
before
1810.
It
was
just
a
cowpath
and
they
made
it
into
a
respectable
dirt
road.
C
It
wasn't
until
the
1920s
that
they
actually
paved
it,
and
here
this
zoomed
in
on
it-
and
you
can
see
the
the
pole
that
would
become
the
pike.
What
they
would
lay
across
part
of
my
feeling
was
that
on
the
east,
you
have
Ingo
Fried's,
beautiful
Air,
Force
Memorial,
and
there
should
be
something
on
the
West
that
is
vertical,
and
this
went
along
with
the
thinking
of
all
the
people.
I
was
talking
to
him
when
we
were
first
talking
about
this
piece.
They
wanted
something
that
was
really
visible.
C
C
C
What's
going
to
catch
the
wind
the
best
so
there's
such
beautiful
shapes
and
there
they're
coming
totally
out
of
mathematics
and
I
love
that
wind
turbines
are
we're
going
to
be
seeing
more
and
more
of
them.
They're
they're,
completely
renewable
source
of
power,
they're
completely
non
polluting
they.
C
C
This
map
I
came
across
from
the
Civil
War
again
by
Yorktown,
and
you
can
see
they've
drawn
in
these
windmills
for
people
to
help
navigate
by
if
you,
if
you
drive
west
on
the
pike,
you've
probably
seen
this.
You
know
where
it
is
better
than
me,
but
these
are
old.
Steel
windmills
used
for
pumping
water.
C
C
I,
don't
mean
this
to
to
turn
this
from
an
art
talk
into
like
an
alternative
energy
talk,
but
since
I'm,
making
it
out
of
a
wind
turbine
blade,
I
have
to
just
tell
you
a
little
bit
this.
This
is
wind
power
in
the
country,
and
you
can
see.
Texas
is
really
totally
killing
it
Virginia
not
so
much.
The
darker
colors
here
have
have
more
wind
power.
The
white
ones
haven't
really
caught
on
yet,
but
this
is
this
is
all
changing
and
it's
going
to
change
fast.
C
C
C
C
C
C
C
We've
got
this
blade.
As
Angela
said,
this
project
started
I
believe
it
started
in
2012.
So
it's
been
five
years.
I
found
this
beautiful
blade.
That's
50
feet
long
it'll
go
on
a
stand.
That's
another
10
feet.
So
it's
going
to
be
like
as
tall
as
a
six
story
building,
so
we've
been
storing
this
out
in
Colorado.
C
C
C
You
don't
have
to
worry
about
the
sculpture
getting
destroyed
when
they're
shoveling
snow
away.
It
gives
a
place
for
people
as
they're
crossing
the
street
there
to
sit
down
or
rest
their
their
packages
or
so
forth,
and
it
also
makes
an
enclosure
to
hold
the
lights
that
are
going
to
light.
This
thing,
I
guess
about
50
years
ago,
Harlington
started
to
become
a
a.
C
Haven
for
immigrants
from
all
over
the
world
I
know.
This
is
well
documented
in
by
this
group
of
wonderful
photographers,
the
Columbia
Pike
documentary
project,
which
started
maybe
fifteen
years
ago,
and
there
are
people
here
from
all
over
the
world
and
it's
really
become
a
multi
cultural
melting
pot
and
I
wanted
to
reflect
this
somehow
in
in
the
work
I've
I've
read
places
where
they
called
the
pike
the
world
in
a
zip
code,
which
I
love.
That.
C
They
have
a
fireplace
on
the
arts
and
music
floor
and
they
asked
me
to
make
something
to
go
above.
The
fireplace
I
made
this
sculpture
out
of
violins
and
I
got
all
the
kids
who
were
in
the
violin
programs
in
Minneapolis
to
come
and
carve
their
names
into
the
violins
and
I
can
imagine
that
they're
gonna
come
back
and
show
their
kids.
You
know
see:
I
wrote,
I
carved
Charlie
right
into
the
violin.
C
C
So
they'll
be
epoxy,
then
they'll
we'll
do
our
very
best
to
make
it
vandal-proof
so
that
someone
can't
pry
the
coins
off,
although
it
would
probably
be
a
lot
of
work
for
coins
that
are
not
going
to
be
worth
that
much
money.
I've
worked
in
this
way
in
various
ways.
Over
the
years
this
with
little
bingo
markers.
C
C
C
C
So
that's
what's
coming,
I'm,
not
sure
when
this
this
all
started
in
relationship
to
the
the
public
transportation
you
are
going
to
get
here.
That
doesn't
seem
to
be
coming,
which
I
think
is
a
big
disappointment
and
then
the
process
has
drawn
out,
but
I
think
that
next
year
this
will
become
a
reality.
So
I'm
excited
about
it
and
it's
it's
great
to
have
a
chance
to
tell
you
where
it
came
from
and
what
I've
been
thinking
about.
Thank
you.
D
So
before.
A
We
get
to
the
audience
just
a
couple
of
baseline
questions
about
your
process.
If
you
would,
can
you
just
share
some
of
the
some
of
the
the
lessons
you've
gleaned?
Some
of
the
observations
that
you
got
from
talking
to
people
in
Columbia
Pike,
where
you
sort
of
did
your
your
research
talking
to
the
people
of
the
community?
Can
you
share
a
little
bit
about
what
what
they
wanted
to
see
or
how
they
viewed
this
area
and
how
it
informs
your
process?
Okay,.
C
Though
the
strongest
thing
I
got
from
talking
to
people
of
about
Arlington
and
about
the
pike
was
the
the
sense
that
there
are
people
from
all
over
the
world
here,
which
is,
is
so
unique.
You
know:
I
live
in
New
York
City,
where
there's
people
from
all
over
the
world,
but
to
have
the
concentration
that
you
have
here.
I
understand
that
a
quarter
of
the
people
in
Arlington
speak
a
foreign
language
at
home.
That's
a
that's
astounding
and
it's
it's
special
and
it's
not
without
problems,
but
it's
something
I
think
should
be
celebrated.
C
The
other
things
I
got
were
that
this
is
is
really
they
wanted
a
declarative
boundary.
This
is,
you
are
now
entering
Arlington
and
this
is
some
someplace
special
and
it
should
be
something
that
holds
the
space.
That
really
makes
a
statement,
all
of
which
led
me
to
the
verticality
of
the
piece,
and
then
then
it
was
just
the
the
idea
of
a
pike
and
when,
for
me
that
was
sort
of
an
how
a
moment
when
I
thought.
A
So
for
everyone
who
is
here
tonight,
everybody
who
watches
on
Arlington
TV
they'll
be
able
to
get
a
sense
of
that
thought
process.
Does
your
design
include
the
ability
for
some
sort
of
an
interpretation
or
a
description
of
some
of
your
visions
so
that
future
generations
or
others
who
don't
have
benefited
from
this
conversation,
can
glean
some
of
these
insights
yeah.
C
Probably
no,
but
they
they
could
go
back
and
see
this
videotape,
but
you
know
Picasso
and
in
this
sense
I'm
just
like
Picasso
yeah.
He
said
whatever
anybody
sees
in
my
work.
It's
there
and
I
I.
Think
okay,
people
might
not
know
what
a
pike
means
you
know
or
that
that
this
is
a
sign
of
welcoming,
because
it's
like
this
instead
of
like
this
but
I
I
think
that
the
piece
will
just
stand
on
its
own
and
people
will
see
in
it
what
they
see
in
it.
It's
it's
a
beautiful
shape.
C
Takas
was
saying
before
that.
You
know.
Basically,
people
are
going
to
be
speeding
by
this
in
their
cars.
You
know,
I
was
hoping
they'd
be
speeding
by
it
on
a
trolley.
You
know,
but
some
people
will
be
walking
across
the
street
here.
Some
people
will
be
riding
their
bicycles
on
it.
Those
people
who
are
the
the
slow-moving
people
will
be
the
people
who
see
the
coins.
C
Maybe
people
who
gave
coins
for
the
peace
will
make
a
pilgrimage
and
come
here
and
park
the
car
and
get
out
and
walk
and
sit
on
it
and
look
and
see
if
they
could
find
the
coins
they
bought.
You
known
and
have
us
have
a
sense
of
participation.
Have
a
sense
of
ownership,
really
understand
that
the
citizens
of
Arlington
are
part
of
the
piece
and
that
that
I
think
will
be
evident
without
any
signage.
Saying
Donald
Lipsky
wanted
you
to
blah
blah
blah
I
was
going
to
say.
C
Takas
was
talking
about
how
what's
a
lot
of?
What's
undecided
is
what's
going
to
happen
around
here?
Is
there
going
to
be
some
landscaping?
Is
it
going
to
develop
into
a
little
Plaza?
Will
it
perhaps
be
a
place?
That's
actually
a
center
of
something,
rather
than
just
something
that
you
drive
by
at
40
miles
an
hour
in
your
car
I.
Don't
know
but
I
hope.
So
no.
E
You
had
engineers
look
at
it
in
terms
of
a
base.
Have
you
also
had
engineers
look
at
the
wind
turbine
blade
itself,
because
it's
obviously
made
to
move
with
the
wind
and
not
stand
up
to
it
so
I
know
even
when
they
shut
the
blades
off,
because
the
winds
too
strong,
they
still
can
turn
it.
So
it
has
the
least
amount
of
wind
resistance
on
it.
Then
right
I've.
C
It's
a
very
good
question
and
I
posed
the
exact
same
question
to
my
engineers,
and
they
are
confident
that
it'll
be
fine.
I
I
have
a
I,
have
a
piece
that
I
did
in
Houston
that
I've
been
worried
about
this
last
week,
I'm
doing
a
piece
in
Virginia
Beach,
that's
going
to
be
on
the
less
Knar
bridge,
where
that
has
that
has
all
whole
lot
of
surface
area
that
I'm
concerned
about
how
that's
going
to
do
in
a
hurricane
I'm,
not
an
engineer.
C
A
All
right,
so
we're
gonna
I
think
have
maybe
Angela
also
talked
about
what
we
do
in
terms
of
indemnifying
or
you
know,
foreseeing
incidences
and
how
they
may
be
remediated.
But
I'd
like
to
add
to
that
question.
If
I
could,
in
addition
to
the
turbine
blade,
you
also
have
the
base
of
coins,
which,
presumably
even
if
they're
coated
in
epoxy,
are
gonna
shine
and
reflect
light.
And
how
do
you
envision
that
impacting
the
experience
of
pedestrians
and
motorists?
Oh.
C
I,
don't
think
that'll
have
any
impact
at
all;
they,
they
won't
be
any
shinier
than
of
a
light
post
would
be
and
the
the
fact
is
I've
made
I
made
a
sculpture
in
El
Paso
last
year.
That's
that's
a
cloud
made
of
stainless
steel
panels
and
there
has
and
it's
at
a
roundabout,
so
people
really
have
to
be
paying
attention
and
it
hasn't
been
any
problem
at
all.
B
B
People
who
do
is
D
inspections
for
for
any
kind
of
any
kind
of
structure,
and
we
have
basically,
it
has
to
pass
muster
with
our
technical
advisory
team
who
are
basically
building
this
larger
project,
so
anything
that
they
asked
us
to
do,
and
we
asked
in
some
cases
Donald
to
do
to
to
indemnify
to
secure,
to
make
sure
that
this
project
is
safe.
We
do
we
comply
with.
So
that's
the
good
news
about
public
art
is
it's
it's
done
with
lots
of
checks
and
balances.
B
I
think
maybe
on
the
downside
is
it
takes
a
really
long
time
to
realize
these
things
and
they're
often
fairly
large
budgets
too,
because
I
don't
know
that
the
artists
are
getting
wealthy
on
these
budgets.
But
there
are
a
lot
of
people
involved
in
the
team
to
realize
these
projects.
So
that's
that's.
That's
part
of
the
nature
of
the
work.
C
For
me,
I
would
just
say
to
that.
You
know
the
the
reason
I
started
doing
public
art,
I
started,
I
initially
started
it,
because
I
wanted
to
make
big
things,
and
if
you
just
make
big
something
big
as
a
sculptor,
then
you
have
to
store
it.
You
know,
but
making
big
public
art.
You
know
that
you've
got
a
client
and
a
place
where
it
to
go
before
you
make
it.
C
So
that's
I
think
what
first
got
me
hooked
on
it,
but
the
the
things
about
it
that
I
really
like
are
one
thing
I
like
about
it.
Is
that
it's
hard
and
it's
hard
because
of
all
the
things
angela
was
referring
to
it's
when
I
in
the
days
when
I
was
just
making
things
to
show
in
a
gallery,
I'd
be
in
my
studio
and
I
could
just
do
whatever
I
want
and
if
somebody's
interested
in
a
great,
if
they're,
not
that's
great,
to
hear
you
gotta
really
considered
the
site.
C
C
C
If
you
make
something,
that's
in
a
museum,
great
people
who
go
to
a
museum
see
it
here,
people
integrate
it
into
their
everyday
life,
they
become
something
that
they
pass
all
the
time
they
might
start.
You
know
just
take
it
for
granted
right
and
not
even
notice
it,
but
to
me,
being
part
of
somebody's
actual
world
is
an
important
and
a
wonderful
thing.
Almost.
F
Right,
thanks
for
coming
tonight,
I'm
fairly
familiar
with
the
intersection
where
this
will
be
installed
and
I'm
just
wondering
it
sounds
like
the
logistics
are
still
fairly
fluid.
Do
you
know
whether
you
intend
to
install
this
piece
in
the
island
that
is
in
the
middle
of
the
intersection,
or
do
you
envision
going
either
to
the
the
north
or
south
of
the
pike
itself?
F
E
C
F
Okay,
now
yeah
I
guess
that
kind
of
answers.
My
question
I
was
wondering
that
there
was
going
to
be
some
modicum
of
park
space
to
accommodate
people
approaching
this
piece
and
appreciating
the
piece
and
if
you
surveyed
the
site
and
seen
there's
already
kind
of
a
small
community,
including
a
taco
truck.
That
is
a
pretty
regular
feature
of
that
intersection.
A
A
I'm
gonna
guess
Donald
at
some
point
over
your
career,
you've
dealt
with
people
who
have
not
been
particular
fans
of
your
work
and
I'm
just
curious
as
to
you
know
what
you
in
terms
of
being
a
public
artist.
How
would
you
want
a
public
who
may
not
necessarily
see
your
vision
or
be
enamored
of
your
vision?
How
would
you
still
like
for
them
to
interact
with
and
appreciate
the
piece?
A
C
I
I
always
appreciate
if
they
don't
try
to
bomb
it.
Yeah
I
I'll
tell
you
I've
only
there's
only
one
piece
I've
done
in
my
life.
That
is
roundly
hated
and
I.
Think
it's
hated
because
there
Ron
I
don't
even
want
to
talk
about
it.
But
but
it
that's
an
unusual
thing
for
me,
my
normal
experience
and
something
I've
I
would
say:
there's
there's
two
experiences
one.
C
The
other
is
what
I
strive
for,
and
that
is
pieces
that
really
become
important
in
people's
lives.
There's
there
a
piece
I
did
in
San
Antonio.
They
have
something
called
the
Riverwalk,
it's
a
beautiful
civic
amenity
that
was
built
in
the
WPA
in
the
30s
and
they
decided
to
extend
the
Riverwalk
and
there
was
a
point
where
it
goes
under
I
35
a
major
highway
and
they
thought
it
was
going
to
be
dark
and
spooky
there
and
people
would
just
turn
around
and
go
back.