For Birds and Snowstorms

Art has typically been made to challenge and bring pleasure to the human race. In Edward Tufte’s eyes, people aren’t not the only ones who ought to be considered.
 
According to many, Edward Tufte is a genius. Business Week magazine even went so far as to call him the “Galileo of graphics,” and Martin Kemp of Nature bestowed the title of “The world’s leading analyst of graphic information” upon the artistic thinker. His insights into what the art world is currently presenting and has presented in the past to those with eyes to see is unparalleled. Equally as impressive are his infectious, meticulous art books and sculptures. However, it is his passion of how his pieces survive in the elements that make his work reach beyond the thick-walled structure of the typical art community.

When planning and creating one of his exorbitantly large sculptures, Tufte has many concerns, which he voices freely. As most artists, he wants something that is aesthetically pleasing. But when his art is going to take up public spaces for long periods of time, he does not stop with the aesthetics of his sculpture. Out of love for the world around him, Tufte considers what his sculpture will do to the natural space it will inhabit—in more ways than one. How many ways can a sculpture affect a space? Hundreds.
 
The first, most obvious way is that a gigantic piece of metal will be inserted into an otherwise natural setting. Once a sculpture in place, a green field ceases to be another green field and takes on a life of its own, often focusing on the artificial piece. Before placing his 32-foot-tall sculpture “Larkin’s Twig,” Tufte wanted to make sure the shadows were going to work well with the space and allow life to continue in the area. On top of that, he modified his sculpture from its inspiration (a twig that was gifted to Tufte from Graham Larkin). Unlike so many modifications made in the name of art, Tufte’s revisions were out of hopes that the modifications would maintain the structural integrity and beauty of the piece, while serving as perches for birds both large and small.
 
He was so concerned with his piece fitting into nature and being accepted by the world in which it was planted that he joyfully wrote about animal sightings around “Larkin’s Twig,” and included photos of raccoon footprints on the side of the piece that Tufte explained as appearing to only have gone up. Along with his love of shadow and the animal kingdom, Tufte is enamored with the changes of scenery that take place around “Larkin’s Twig.”

If more artists would see their art beyond the realm of liberal-arts-schooled critics, fellow artists, and the walls of the local art gallery, change would come. Students of every discipline would grow to appreciate art. Unschooled adults would stop cowering before art, feeling its purpose and meaning are beyond their comprehension. More universities would establish quality art programs to train up the next Tufte or Larkin. In essence, art would be given to those it belongs—those who love birds, shadows, and snowstorms.


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