July 30, 1967:
As the dedication ceremonies draw near for Chicago’s Picasso statue, the
Chicago Tribune prints comments about
the artist’s gift from a variety of sources.
William E. Hartmann, an architect for Skidmore, Owings and Merrill,
the man most responsible for bringing the sculpture to Chicago, says, “Chicago
Picasso has an excellent sound. The two
words have the same number of syllables, and they represent an affinity for two
strong spirits. Bud Holland, an art gallery
owner, states, “I refuse to comment on a work I haven’t seen, but even if I
hate it, I’m going to love it. I think
the idea of a major work by someone of Picasso’s stature standing in such a
public position is so exciting that it’s going to raise the level of public
sculpture not only in Chicago but in the entire nation.” James
Brown, IV, a trustee of one of the group’s underwriting the cost of the
Picasso, says, “There will come a time when we can’t imagine anything else
being in the plaza except the Chicago Picasso because it is so appropriate to
the site and backdrop.” Alderman John J. Hoellen, pretty clearly not a
big fan, says, “The statue represents the power of city hall, stark, ugly,
overpowering, frightening . . . They could take this monster to Lincoln park,
where it would be in close proximity to the Chicago zoo. Incidentally, the rib cage on the thing
offers a very fine roosting place for pigeons.”
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