A walk in the garden
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In addition, the sculptures are set so that they can be approached
easily from all angles. In this sense, "few sculpture installations
are as instructive about the nature of sculpture," Brenson
writes. "It makes clear that sculpture must be walked around,
seen from near and far and, perhaps most important, touched. In
museums, sculptures are as untouchable as the paintings, to which
they are therefore almost inevitably subservient. But here, your
approach can be hands-on."
visitors from outside the university marvel at the garden's openness.
And others sometimes worry about the safety of the pieces. But Murphy
never had such concerns.
people said we would have to build a fence around the garden to
protect it," Murphy told ArtNews in 1985. "It was
feared vandals might spray obscenities on the nudes. At the height
of the Vietnam difficulties, graffiti were scrawled elsewhere on
campus and windows were broken. But the sculpture was not touched.
The garden has an almost spiritual quality, you know. And the students
understand that this is their garden. They protect it. I believe
they always will."
walk in the garden ......
Graham, Dance Columns I and II (detail), 1978. Gift of Carol
and Roy Doumani, 1980.
Maja, 1941. Gift of Mr. and Mrs. Jack Warner and the UCLA Art
Butterfield, Pensive (detail), 1996. In memory of Franklin D.
Murphy, a close friend of Marcia Simon Weisman. Given by the
Marcia Simon Weisman Foundation with special thanks to the artist,
Zœ-iga, Desnudo Reclinado (Reclining Nude), 1970. Gift of Elsie
Browning Ballantyne in memory of her mother, Rachel Teresa Browning,
Maillol, Torso, c. 1938. Gift in honor of Franklin D. Murphy
from Henry Ford II, 1976. © 2001 Artists Rights Society (ARS),
New York/ADAGP, Paris. All sculptures in the Franklin D. Murphy
Sculpture Garden, University of California, Los Angeles.
Hepworth, Elegy III, 1966. Gift of Jean and Irving Stone, 1975.
© Alan Bowness, Hepworth Estate.