The 250 online comments about Antony Gormley's "Habitat" at the Anchorage Museum mark some kind of record for any arts story I've written.
I didn't enunciate my opinion in previous articles because newspapering limits news to that which is observed or can be attributed to a source. The rest is hypothesis, which I try to relegate to reviews and this column.
Opinions -- the coherent ones -- from members of the community fall into two camps. The bulk is of the "why did we spend money to have an out-of-stater make this monstrosity?" variety. Most of the rest is, "If you don't like it, you're a redneck hick."
I feel most offended by the latter comments. I'm a documented redneck and many think I'm a hick (I won't dispute it). But name-calling is not a serious response to reasonable objections about the statue.
I will try to supply that now.
The $560,000 cost is certainly a lot of money for me. But it appears to be nothing for the government. Read the current state capital budget, 176 pages that blow through roughly $20 million per page. The cost of "Habitat" is about the same as what the legislature set aside to replace lockers at Mears Middle School, lockers we already paid for at least once.
Lockers few readers will ever use. And which do you think will last longer, the lockers or the statue?
"Habitat's" price tag is microscopic compared to the upgrades and improvements for Anderson, Boeke and Sullivan arenas, sports facilities at Dimond, South and Service high schools, Begich Middle School, Kincaid Park, etc.
While any waste of public funds is bad, those who grouse about 1 percent for art money will have a lot more credibility when I hear them proportionately gripe about these multi-million dollar non-necessities.
A constitutional limit on what government can spend would be a terrific idea (probably too good to be politically viable), but "Habitat" is hardly the most compelling poster boy for that worthy cause.
Disdain for the artist being out-of-state likewise sounds hypocritical when it comes from anyone who spends time watching Hollywood movies or television shows yet doesn't spend an equal amount of time going to local plays.
Sometimes Al Pacino turns in a better performance than the guy from Muldoon and we're willing to pay for it. Ditto with world class art.
The label of "monstrosity" is a matter of taste and therefore not subject to logical debate. I concur that Anchorage has an abundance of hideous public "art;" if there were a move to destroy 90 percent of it, I'd gleefully show up and bring a maul. But "Habitat" is nowhere near the top of my demolition wish list.
On the contrary. I love the Big Gray Guy. Walk down Seventh Avenue or get lunch on the outdoor terrace of the Muse cafe to get a good view. Catch it at sunset or early morning. It takes on an unexpected pink or purple glow that makes you think this golem's alive.
Some wanted something more identifiably "Alaskan," a totem pole or bronzed wildlife. We already have numerous examples of both. There's the chrome wolf at House of Harley and I can think of three superb Nathan Jackson totems in the city.
But there is nothing else on the planet like "Habitat." That's one of the things that makes it a masterpiece.
And since it's here for the next millennium or so, maybe we should think about how to use this investment to our advantage.
Anchorage has never been good at self-promotion, but we need to energetically promote "Habitat."
Sophisticated Alaskans got this treasure, we should tell outsiders, not you hicks (sorry) in Seattle or San Francisco or New York. So don't look down your uncultured noses at us.
Another bonus: If anyone claims that Alaskans cannot safely, cleanly, precisely drill or mine or execute any kind of engineering function, have them look at how well our craftsmen assembled the statue.
The flawless work is steely evidence that doubters are ignorant of the facts.
Insofar as "Habitat" encourages positive international perceptions about Alaska -- and that's entirely possible -- we got a bargain.
Juneau gets a new totem pole
The new Eagle totem pole went up at the University of Southeast Campus in Juneau without a glitch April 24.
At least that's what we surmise from photos received from the Sealaska Heritage Institute this week.
The photos give us a good view of what appears to be superb work.
The totem was carved from a 45-foot cedar log by a team led by lead carvers Joe and T.J. Young, two brothers from Hydaburg. It "balances out" the Raven pole previously erected at the campus.
Literary notes
Following up on last week's salute to Alaska Quarterly Review's newest issue, we've received some extra information not included in the edition.
Alaska authors featured in the Spring and Summer 2010 AQR include University of Alaska Fairbanks faculty member Amber Flora Thomas. Her "Ultrasound Aubade" in fact grabbed our attention while scanning the book because, well, how many aubades (music or love poems suitable for morning) do you run across nowadays?
It opens, "The doctor shows me a sepia mushroom,/ a cancerous orchid, a tetherball winding/ and winding a pole."
Former Alaskans Amy Groshek and Todd Boss also have work in the issue.
A new local literary journal "for the North Pacific Rim," named Cirque has come to our attention. Edited by Mike Burwell in Anchorage, the first issue includes notable Alaska authors including state writer laureate Nancy Lord, Peter Porco, Marjorie Kowalski Cole, B. Hutton, Ernestine Hayes, Joan Kane, John Morgan and more writing in genres from plays to poetry to essays.
It includes a number of photographs. Check their website at www.cirquejournal.com.
Find Mike Dunham online at adn.com/contact/mdunham or call 257-4332.
By MIKE DUNHAM
mdunham@adn.com