Municipalities
In the years after “Waiting for the Interurban”, Beyer was commissioned to create dozens of public sculptures for cities and towns in Washington State, Oregon, and beyond. When working with municipal commissions, the “city fathers” often had trouble keeping up with Beyer’s sometimes wild or whimsical ideas. But he was able to compromise and come up with a design that was satisfying to himself and a delight to the community. He imagined detailed stories for each sculpture that gave the designs a kind of inner life to which people immediately respond. They are approachable and kid-friendly, but filled with “adult intention.”
Rich Beyer, stated, “Art in Public Places and Public Art are not the same thing… The idea of Art in Public Places sacrifices creativity to technicality. Public Art, in expressing the creativity of the community, risks being technically (and artistically) erratic. That is the bureaucratic fear. The bureaucrat fears that creativity may be uncontrollable."
In the years after “Waiting for the Interurban”, Beyer was commissioned to create dozens of public sculptures for cities and towns in Washington State, Oregon, and beyond. When working with municipal commissions, the “city fathers” often had trouble keeping up with Beyer’s sometimes wild or whimsical ideas. But he was able to compromise and come up with a design that was satisfying to himself and a delight to the community. He imagined detailed stories for each sculpture that gave the designs a kind of inner life to which people immediately respond. They are approachable and kid-friendly, but filled with “adult intention.”
Rich Beyer, stated, “Art in Public Places and Public Art are not the same thing… The idea of Art in Public Places sacrifices creativity to technicality. Public Art, in expressing the creativity of the community, risks being technically (and artistically) erratic. That is the bureaucratic fear. The bureaucrat fears that creativity may be uncontrollable."
Sighting Whales
City Waterfront Park,
Edmonds, WA
2003, cast aluminum
The architects designing the reconstruction of the Edmonds, WA waterfront asked Beyer to create a sculpture for the landing. While enjoying a drink with a friend and discussing the project one evening, they saw folks running toward the window, pointing with great enthusiasm. Whales were in the harbor. This was a frequent springtime occurrence in the Edmonds harbor, and always brought great wonder to the passers-by. The pointing gesture became the focal point for this sculpture. The life sized family figures represent everyone, young and old, forever looking out to sea.
Edmonds, WA
2003, cast aluminum
The architects designing the reconstruction of the Edmonds, WA waterfront asked Beyer to create a sculpture for the landing. While enjoying a drink with a friend and discussing the project one evening, they saw folks running toward the window, pointing with great enthusiasm. Whales were in the harbor. This was a frequent springtime occurrence in the Edmonds harbor, and always brought great wonder to the passers-by. The pointing gesture became the focal point for this sculpture. The life sized family figures represent everyone, young and old, forever looking out to sea.
The Bull
Rotary Pavilion
Pearl Street
Ellensburg, WA
1986, cast aluminum
In 1984 well-known Ellensburg artists, Dick Elliott and Jane Orelman, came up with the idea for a sculpture in downtown Ellensburg and talked the town into commissioning Beyer. Funding was secured from private donations through many “FUN-raisers." The original model was named “Cowboy” in honor of the cattle industry in the area. However, local ranchers were offended by the name. Also, in the original design, the bull’s private parts were to be exposed but this caused much controversy throughout the town. “Grandmothers protested that they would not be able to take their grandchildren past the bull for fear of pornographic indoctrination.” (Margaret Beyer) Rich changed the name to “The Bull,” and placed a cowboy hat discretely on its lap. Ever since its installation in December 1986, grandmothers (and others) are frequently seen posing for photos with their children snuggled up to "The Bull" or sitting on his lap.
Pearl Street
Ellensburg, WA
1986, cast aluminum
In 1984 well-known Ellensburg artists, Dick Elliott and Jane Orelman, came up with the idea for a sculpture in downtown Ellensburg and talked the town into commissioning Beyer. Funding was secured from private donations through many “FUN-raisers." The original model was named “Cowboy” in honor of the cattle industry in the area. However, local ranchers were offended by the name. Also, in the original design, the bull’s private parts were to be exposed but this caused much controversy throughout the town. “Grandmothers protested that they would not be able to take their grandchildren past the bull for fear of pornographic indoctrination.” (Margaret Beyer) Rich changed the name to “The Bull,” and placed a cowboy hat discretely on its lap. Ever since its installation in December 1986, grandmothers (and others) are frequently seen posing for photos with their children snuggled up to "The Bull" or sitting on his lap.
Lunch Break
Metro Administration Building,
Anchorage, AK
1986, cast aluminum
This is a second public sculpture commissioned by the Arts Commission of Anchorage. It is “located at the edge of the Metropolitan Transit Administration Building parking lot. The parking lot adjoins an in-town wilderness area of short conifers and brushy terrain, which is used for training dogs.
"Here sits a bus driver on a large boulder, eating a sandwich. A grizzly bear, with front paws on the rock, stretches its neck toward the food. The design at first caused consternation among committee members because they feared it would induce small children to feed bears. Rich changed the posture of the bus driver’s arm and hand, to indicate he was not going to share the sandwich with the nice bear.”
QUOTE: The Art People Love, Margaret W. Beyer, WSU Press, p. 70
Anchorage, AK
1986, cast aluminum
This is a second public sculpture commissioned by the Arts Commission of Anchorage. It is “located at the edge of the Metropolitan Transit Administration Building parking lot. The parking lot adjoins an in-town wilderness area of short conifers and brushy terrain, which is used for training dogs.
"Here sits a bus driver on a large boulder, eating a sandwich. A grizzly bear, with front paws on the rock, stretches its neck toward the food. The design at first caused consternation among committee members because they feared it would induce small children to feed bears. Rich changed the posture of the bus driver’s arm and hand, to indicate he was not going to share the sandwich with the nice bear.”
QUOTE: The Art People Love, Margaret W. Beyer, WSU Press, p. 70
The Storyteller
The Lake Washington Plaza,
Lake Washington Blvd. at NE 59th
Kirkland, WA
1987, cast aluminum
Lake Washington Blvd. at NE 59th
Kirkland, WA
1987, cast aluminum
Ivar Feeding the Gulls
Ivar's‚ Acres of Clams Restaurant
Waterfront Walk
Seattle, WA,
1988, cast bonze and aluminum
Waterfront Walk
Seattle, WA,
1988, cast bonze and aluminum
The Kiss
City of Olympia (and POSSCA)
at Persival's Landing,
Olympia, WA
1990, cast aluminum
The Kiss was a community gift to the City of Olympia, WA, at Percival’s Landing on the city waterfront. One of the goals of this piece was to keep the boardwalk friendly, a safe place at night and safe from skate boarders or groups that might discourage the mainstream of citizens walking along. “The kissing sculpture is effective in this regard,” said Beyer. It is so life-like, and yet incongruous, it makes people stop and do a double-take. Lovers often like to have their photo taken next to it, assuming the pose of the sculpture. The Kiss is 6 feet high, 4 feet wide, of cast aluminum.
at Persival's Landing,
Olympia, WA
1990, cast aluminum
The Kiss was a community gift to the City of Olympia, WA, at Percival’s Landing on the city waterfront. One of the goals of this piece was to keep the boardwalk friendly, a safe place at night and safe from skate boarders or groups that might discourage the mainstream of citizens walking along. “The kissing sculpture is effective in this regard,” said Beyer. It is so life-like, and yet incongruous, it makes people stop and do a double-take. Lovers often like to have their photo taken next to it, assuming the pose of the sculpture. The Kiss is 6 feet high, 4 feet wide, of cast aluminum.
Coyote Leads the Salmon up the River
Walla Walla PUD Park,
Wenatchee, WA
1990, cast aluminum
A Native American Story: Coyote wanted to provide salmon for hungry people upriver and learned that the salmon had all been trapped behind a dam that the swallow sisters had built downstream near a falls. Coyote tricked the sisters into leaving long enough for him to clear the dam so the fish would be able to swim upstream. Coyote guides the fish, telling some to go up little creeks and some to go up larger rivers. In Beyer’s version, as Coyote leads a group of fish, he is carrying a tired baby fish and looking back at a young boy and girl fish who are busy flirting.
This design was first introduced through a 1988 exhibition called, “The Upper Columbia River - As It Was,” at the North Central Wash. Museum in Wenatchee. Native American tales and art were part of the exhibit developed by William Layman. He asked Beyer to create a sculptural design for the exhibit. Beyer's cedar carving of “Coyote Leading the Salmon” was greatly admired. With sponsorship from the museum, Layman, the mayor and local business people established the “Friends of Coyote” to raise money for a permanent sculpture to be placed in a (then) new park on the banks of the Columbia River.
Wenatchee, WA
1990, cast aluminum
A Native American Story: Coyote wanted to provide salmon for hungry people upriver and learned that the salmon had all been trapped behind a dam that the swallow sisters had built downstream near a falls. Coyote tricked the sisters into leaving long enough for him to clear the dam so the fish would be able to swim upstream. Coyote guides the fish, telling some to go up little creeks and some to go up larger rivers. In Beyer’s version, as Coyote leads a group of fish, he is carrying a tired baby fish and looking back at a young boy and girl fish who are busy flirting.
This design was first introduced through a 1988 exhibition called, “The Upper Columbia River - As It Was,” at the North Central Wash. Museum in Wenatchee. Native American tales and art were part of the exhibit developed by William Layman. He asked Beyer to create a sculptural design for the exhibit. Beyer's cedar carving of “Coyote Leading the Salmon” was greatly admired. With sponsorship from the museum, Layman, the mayor and local business people established the “Friends of Coyote” to raise money for a permanent sculpture to be placed in a (then) new park on the banks of the Columbia River.
Children Playing Train at the Switch
Auburn City Hall
25 W. Main Street
Auburn, WA
1991, cast bronze
25 W. Main Street
Auburn, WA
1991, cast bronze
Columbus, Four Images of the Man
Riverwalk Park,
Columbus, GA
1993, cast bronze
Beyer’s Columbus is the focal point of the Riverwalk Park in Columbus, Georgia. “Christopher Columbus is described in the sculpture as a mortal human, in four stages of his life, not a legend over-emphasizing discovery.” (Beyer) The piece is 10’ high and 8’ in width & depth, in cast bronze. An accompanying plaque describes the four figures and reads as follows:
VISION: The young Columbus staggers before the certainty of a greater world that, with his navigational skill, he will ultimately traverse.
PERSUASION: He explains to skeptical powers that the world is spherical and small and that the sea to him is as the land is to them.
DISCOVERY: As he placed his foot upon the rich earth of the New World, Columbus set in motion ripples that continue to affect the lives of modern men and women around the globe.
CHAINS: Despite the depth of his vision, Columbus returned to Spain a man broken of spirit and bound by the society in which he had once flourished.
Columbus, GA
1993, cast bronze
Beyer’s Columbus is the focal point of the Riverwalk Park in Columbus, Georgia. “Christopher Columbus is described in the sculpture as a mortal human, in four stages of his life, not a legend over-emphasizing discovery.” (Beyer) The piece is 10’ high and 8’ in width & depth, in cast bronze. An accompanying plaque describes the four figures and reads as follows:
VISION: The young Columbus staggers before the certainty of a greater world that, with his navigational skill, he will ultimately traverse.
PERSUASION: He explains to skeptical powers that the world is spherical and small and that the sea to him is as the land is to them.
DISCOVERY: As he placed his foot upon the rich earth of the New World, Columbus set in motion ripples that continue to affect the lives of modern men and women around the globe.
CHAINS: Despite the depth of his vision, Columbus returned to Spain a man broken of spirit and bound by the society in which he had once flourished.
I knew it Was Coming
City of Antioch,
Antioch, CA
1994, cast aluminum
In 1993 the Cultural and Arts Commission of the City of Antioch, Calif. commissioned Rich Beyer to provide a sculpture for a new residential section of town. Some long-time residents had mixed feelings about the coming development. The town had been in an agricultural area with tomato canneries on the Sacramento River. The farms were now being taken over for housing development for people looking for affordable homes, mostly coming from San Francisco using the Bay Area Rail Transit which now connects to Antioch.
The sculpture is of an old farmer who has loaded a wagon with his belongings and is leaving his farm where he had grown tomatoes and sweet peppers. His land is being taken over for a new housing development and he is pointing to the place where "it is coming."
Antioch, CA
1994, cast aluminum
In 1993 the Cultural and Arts Commission of the City of Antioch, Calif. commissioned Rich Beyer to provide a sculpture for a new residential section of town. Some long-time residents had mixed feelings about the coming development. The town had been in an agricultural area with tomato canneries on the Sacramento River. The farms were now being taken over for housing development for people looking for affordable homes, mostly coming from San Francisco using the Bay Area Rail Transit which now connects to Antioch.
The sculpture is of an old farmer who has loaded a wagon with his belongings and is leaving his farm where he had grown tomatoes and sweet peppers. His land is being taken over for a new housing development and he is pointing to the place where "it is coming."
The Big Catch
City of Des Moines Park
218 Marine View Drive
Des Moines, WA
1994, cast bronze
This is perhaps Beyer’s most joyful and controversial works. A fisherman kissing a fish with human breasts was shocking to some, yet the Chamber of Commerce in Des Moines, WA, reluctantly approved Beyer’s design in 1994. Controversy continued even after it was cast in bronze and placed in a new town park. To make folks more accepting of the design which he did not want to change, Beyer concocted a legend to explain: “A fisherman was in love with a beautiful young maiden, but the Wicked Witch of Puget Sound fell in love with her too. The Witch cast a spell and turned the maiden into a fish. The sad fisherman spent years searching for her in the waters. One day while fishing off the pier in Des Moines, he saw a big fish in his net and knew it was his love. He pulled her up, kissed her, dancing for joy. She was transformed back into the beautiful maiden and they lived happily ever after.”
218 Marine View Drive
Des Moines, WA
1994, cast bronze
This is perhaps Beyer’s most joyful and controversial works. A fisherman kissing a fish with human breasts was shocking to some, yet the Chamber of Commerce in Des Moines, WA, reluctantly approved Beyer’s design in 1994. Controversy continued even after it was cast in bronze and placed in a new town park. To make folks more accepting of the design which he did not want to change, Beyer concocted a legend to explain: “A fisherman was in love with a beautiful young maiden, but the Wicked Witch of Puget Sound fell in love with her too. The Witch cast a spell and turned the maiden into a fish. The sad fisherman spent years searching for her in the waters. One day while fishing off the pier in Des Moines, he saw a big fish in his net and knew it was his love. He pulled her up, kissed her, dancing for joy. She was transformed back into the beautiful maiden and they lived happily ever after.”
The Big Catch (Detail)
City of Des Moines Park
218 Marine View Drive
Des Moines, WA
1994, cast bronze
"…in the foundry, getting ready to install in the town of Des Moines."
218 Marine View Drive
Des Moines, WA
1994, cast bronze
"…in the foundry, getting ready to install in the town of Des Moines."
Coyote Reading a Candy Wrapper
North Central Washington Museum
127 S. Mission Street
Wenatchee, WA
1995, cast aluminum
Beyer loved to read poetry. He found a book of poetry written by a Native American named Blue Flute. The theme was about Coyote’s adventures in Berkeley, CA. In one scene, Coyote picked up a candy wrapper from the gutter and sat on a curb to read what it had to say. Beyer could not resist creating a sculpture of this poetic image.
During 1994-95 Wenatchee held an event called Art on the Avenues, to promote an awareness of public art. Many artists brought their work to town and displayed it for the community to enjoy. The Wenatchee Arts Commission held a contest for people to choose their favorite sculpture. Not surprising, Beyer’s entry, “Coyote Reading a Candy Wrapper,” won the contest! In recognition of Blue Flute’s inspiration, Beyer placed a first edition of Flute’s book inside the hollow portion of the sculpture. Ever since, Coyote has been seated on the steps of the North Central Washington Museum, where he is a favorite subject for local photographs and museum gifts.
127 S. Mission Street
Wenatchee, WA
1995, cast aluminum
Beyer loved to read poetry. He found a book of poetry written by a Native American named Blue Flute. The theme was about Coyote’s adventures in Berkeley, CA. In one scene, Coyote picked up a candy wrapper from the gutter and sat on a curb to read what it had to say. Beyer could not resist creating a sculpture of this poetic image.
During 1994-95 Wenatchee held an event called Art on the Avenues, to promote an awareness of public art. Many artists brought their work to town and displayed it for the community to enjoy. The Wenatchee Arts Commission held a contest for people to choose their favorite sculpture. Not surprising, Beyer’s entry, “Coyote Reading a Candy Wrapper,” won the contest! In recognition of Blue Flute’s inspiration, Beyer placed a first edition of Flute’s book inside the hollow portion of the sculpture. Ever since, Coyote has been seated on the steps of the North Central Washington Museum, where he is a favorite subject for local photographs and museum gifts.
Captain Alexander Griggs Walks to Work
Sternwheeler Park
5th Ave. at Northern, Wenatchee, WA
1997, cast bronze
A historic collaborative sculpture by Richard Beyer, William Layman, and Cheryl Wrangle.
Captain Alexander Griggs was a real figure in Wenatchee history. He was brought to the town in 1892 by James J. Hill, the notorious railroad baron, and given the task of establishing a “stern-wheeler” service on the Columbia River. The sculpture is placed in the park so that the Captain is walking towards what was once his shipyard, now lost beneath the waters of the Rock Island Dam; he is carrying a model of the Selkirk and giving a “thumbs up” to passers by - the signal that he used to tell people it was a fine day to take a steamboat ride.
William Layman wanted to give the city a sculpture with historic significance. The local Arts Commission balked at the design, yet after being told this was “not art but an historical commemoration,” they agreed to its installation. At the unveiling, Beyer lectured, “Public Art as service in the community contrasts to the art of the ideology of patronage” – in public places.
5th Ave. at Northern, Wenatchee, WA
1997, cast bronze
A historic collaborative sculpture by Richard Beyer, William Layman, and Cheryl Wrangle.
Captain Alexander Griggs was a real figure in Wenatchee history. He was brought to the town in 1892 by James J. Hill, the notorious railroad baron, and given the task of establishing a “stern-wheeler” service on the Columbia River. The sculpture is placed in the park so that the Captain is walking towards what was once his shipyard, now lost beneath the waters of the Rock Island Dam; he is carrying a model of the Selkirk and giving a “thumbs up” to passers by - the signal that he used to tell people it was a fine day to take a steamboat ride.
William Layman wanted to give the city a sculpture with historic significance. The local Arts Commission balked at the design, yet after being told this was “not art but an historical commemoration,” they agreed to its installation. At the unveiling, Beyer lectured, “Public Art as service in the community contrasts to the art of the ideology of patronage” – in public places.
Hop Skip and Jump
Coulee Community Hospital
Grand Coulee, WA
1998, cast aluminum
The artistic design for the sculpture was based on Northwest Indian totem poles. The inspiration for the subject grew out of the playful roughhousing of Beyer’s many grandsons. The poor kid on the bottom of this totem looks very pained and struggles to stand.
The piece was first part of a Beyer exhibit at the Art Museum at Yakima, WA, Community College, where his work was for sale. The sculpture impressed a lawyer from the town of Grand Coulee, WA, who loved its humor and energy. He bought it to donate to his local hospital where he served as a trustee. He wanted to honor the role the hospital had played in his life – where his sons were born, where his dying wife was cared for, and one of this grown sons became a doctor. Hop, Skip and Jump continues to welcome patients and visitors to the hospital every day. It is a good example of how Beyer connects with communities and their residents.
Grand Coulee, WA
1998, cast aluminum
The artistic design for the sculpture was based on Northwest Indian totem poles. The inspiration for the subject grew out of the playful roughhousing of Beyer’s many grandsons. The poor kid on the bottom of this totem looks very pained and struggles to stand.
The piece was first part of a Beyer exhibit at the Art Museum at Yakima, WA, Community College, where his work was for sale. The sculpture impressed a lawyer from the town of Grand Coulee, WA, who loved its humor and energy. He bought it to donate to his local hospital where he served as a trustee. He wanted to honor the role the hospital had played in his life – where his sons were born, where his dying wife was cared for, and one of this grown sons became a doctor. Hop, Skip and Jump continues to welcome patients and visitors to the hospital every day. It is a good example of how Beyer connects with communities and their residents.
Hop Skip and Jump (Detail)
Coulee Community Hospital
Grand Coulee, WA
1998, cast aluminum
Grand Coulee, WA
1998, cast aluminum
Singing After Work
Park overlooking Grand Coulee Dam
Grand Coulee, WA
1999, cast aluminum
Beyer’s father, Otto, worked for the US Interior Department during the 1930s. He traveled to Eastern Washington and brought home pictures of the desert along the Columbia River and helped determine where and how Grand Coulee Dam would be built to bring electricity, irrigation and jobs to the area. In 1941 two popular songs of folk singer and political activist, Woody Guthrie, were in support of federal dam projects:
“Roll On Columbia” and “Grand Coulee Dam” -
“… She tore men’s boots to splinters
But she gave men dreams to dream
Of the day the Great Grand Coulee
Would cross the wide and wasted stream...”
Many of the workers who came from all over, stayed and helped bring stability to the area as their families settled into towns along the Columbia. When Beyer was asked to create a sculpture at Grand Coulee, he envisioned a worker singing Guthrie’s song as his children admire the great dam.
Grand Coulee, WA
1999, cast aluminum
Beyer’s father, Otto, worked for the US Interior Department during the 1930s. He traveled to Eastern Washington and brought home pictures of the desert along the Columbia River and helped determine where and how Grand Coulee Dam would be built to bring electricity, irrigation and jobs to the area. In 1941 two popular songs of folk singer and political activist, Woody Guthrie, were in support of federal dam projects:
“Roll On Columbia” and “Grand Coulee Dam” -
“… She tore men’s boots to splinters
But she gave men dreams to dream
Of the day the Great Grand Coulee
Would cross the wide and wasted stream...”
Many of the workers who came from all over, stayed and helped bring stability to the area as their families settled into towns along the Columbia. When Beyer was asked to create a sculpture at Grand Coulee, he envisioned a worker singing Guthrie’s song as his children admire the great dam.
Dragg'n His Saddle
Winthrop, WA
2001, cast bronze
2001, cast bronze
Chelan Bear
Woodin and Emerson
Chelan, WA
1994, cast aluminum
This wise old bear had several incarnations before it found a permanent home in Chelan. Gallery owner and artist, Gene Barkley, came up with a great idea and presented it to the Chelan Chamber of Commerce. He talked them into buying the bear and renting it to local merchants on a monthly basis to gain income for the Chamber of Commerce. The idea was accepted by the business community, and, to this day, you will find the Chelan Bear standing near some enterprise in the commercial district, keeping watch and “looking for an honest bear.”
Chelan, WA
1994, cast aluminum
This wise old bear had several incarnations before it found a permanent home in Chelan. Gallery owner and artist, Gene Barkley, came up with a great idea and presented it to the Chelan Chamber of Commerce. He talked them into buying the bear and renting it to local merchants on a monthly basis to gain income for the Chamber of Commerce. The idea was accepted by the business community, and, to this day, you will find the Chelan Bear standing near some enterprise in the commercial district, keeping watch and “looking for an honest bear.”
Jackalope Picnic
Chelan, WA
A Private purchase, but sits in a public space, on a main street in downtown Chelan, WA.
1999, cast aluminum
A Private purchase, but sits in a public space, on a main street in downtown Chelan, WA.
1999, cast aluminum
The Fisherman
Waverly Beach, Kirkland, WA
1999, cast aluminum
The Shinstrom family, that had donated The Carousel to the City of Kirkland in 1995, asked Beyer to do another piece for the town. When Dick Shinstrom was a boy, Lake Washington was abundant with silver salmon during the summer runs. He often went fishing, going out from a dock at Waverly Park in Kirkland. Dick wanted a sculpture to capture those days of tremendous fishing. The sculpture shows a fisherman in his boat holding a great catch, while the boat is supported by a great swirl of circling salmon.
1999, cast aluminum
The Shinstrom family, that had donated The Carousel to the City of Kirkland in 1995, asked Beyer to do another piece for the town. When Dick Shinstrom was a boy, Lake Washington was abundant with silver salmon during the summer runs. He often went fishing, going out from a dock at Waverly Park in Kirkland. Dick wanted a sculpture to capture those days of tremendous fishing. The sculpture shows a fisherman in his boat holding a great catch, while the boat is supported by a great swirl of circling salmon.
The Fisherman (Detail)
Waverly Beach, Kirkland, WA
1999, cast aluminum
1999, cast aluminum
Government Before Man Took Over
Des Moines City Hall
City of Des Moines, WA
1982, wood carving cedar panel ("The Story of Government" - Panel 1 of 4)
Bear sitting on the Great Ring of Nature with other animals holding onto the ring.
City of Des Moines, WA
1982, wood carving cedar panel ("The Story of Government" - Panel 1 of 4)
Bear sitting on the Great Ring of Nature with other animals holding onto the ring.
Goverment of the American Indians
Des Moines City Hall
City of Des Moines, WA
1982, wood carving cedar panel ("The Story of Government" - Panel 2 of 4)
Chief Seattle sitting with a pioneer in his lap and acting as a judge and important man over the other settlers.
City of Des Moines, WA
1982, wood carving cedar panel ("The Story of Government" - Panel 2 of 4)
Chief Seattle sitting with a pioneer in his lap and acting as a judge and important man over the other settlers.
Goverment of the Present
Des Moines City Hall
City of Des Moines, WA
1982, wood carving cedar panel ("The Story of Government" - Panel 3 of 4)
A composition of boats and jails. People are sailing along in ships of state with its spider webs of bureaucracy while creative people sit in jail.
City of Des Moines, WA
1982, wood carving cedar panel ("The Story of Government" - Panel 3 of 4)
A composition of boats and jails. People are sailing along in ships of state with its spider webs of bureaucracy while creative people sit in jail.
Goverment to Come
Des Moines City Hall
City of Des Moines, WA
1982, wood carving cedar panel ("The Story of Government" - Panel 4 of 4)
A flock of birds sailing right and left to find a home in the Great Tree of Yayigrizil (a Norwegian vision of creation which imagines we live in the middle reaches of the tree of being).
City of Des Moines, WA
1982, wood carving cedar panel ("The Story of Government" - Panel 4 of 4)
A flock of birds sailing right and left to find a home in the Great Tree of Yayigrizil (a Norwegian vision of creation which imagines we live in the middle reaches of the tree of being).
Rainier Beach Metro Station
Rainier Beach Metro Station
Seward Park Avenue at Henderson, Seattle, WA
1974, Carved Brick, the design covers the east exterior wall of this water pumping station
Beyer’s fertile imagination often concocted tall tales that he used as subjects for his artwork. Here is the story that is illustrated on the pumping station: “A man has dirty hands. Wash them as he may, they will not become clean. He sets out to find clean water. Terrible birds obstruct his way. Alligators threaten his life, but at last he finds a spring of clear, clean water. Plunging his hands into wash them, his hands fall off. The mitts, seen as auras around his hands, are the clinging dirt and grunge.” RSB
Carving designs into wet “green” brick was a technique that Beyer often used as he was establishing his artistic career between 1968-1975. He had several architect friends who commissioned him to enhance their buildings with decorations that became a permanent part of a brick wall.
Seward Park Avenue at Henderson, Seattle, WA
1974, Carved Brick, the design covers the east exterior wall of this water pumping station
Beyer’s fertile imagination often concocted tall tales that he used as subjects for his artwork. Here is the story that is illustrated on the pumping station: “A man has dirty hands. Wash them as he may, they will not become clean. He sets out to find clean water. Terrible birds obstruct his way. Alligators threaten his life, but at last he finds a spring of clear, clean water. Plunging his hands into wash them, his hands fall off. The mitts, seen as auras around his hands, are the clinging dirt and grunge.” RSB
Carving designs into wet “green” brick was a technique that Beyer often used as he was establishing his artistic career between 1968-1975. He had several architect friends who commissioned him to enhance their buildings with decorations that became a permanent part of a brick wall.
The Traveler
A Downtown Intersection in...
Bend, OR
1982, cast aluminum
The town of Bend, OR wanted to rejuvenate its downtown area and was impressed by the community success of Beyer’s People Waiting for the Interurban in Seattle. In 1981 Beyer was invited by Bend’s Art in Public Places committee to design a sculpture in keeping with the historic ambience of Bend. Beyer liked using a bench as a gathering place. The model for the figure was a homeless acquaintance of Beyer who was being helped by the Seattle Friends Meeting. The man is resting on the bench, looking into his empty wallet and contemplating what he should do next. Ducks from the nearby Mirror Pond keep him company. The ducks were a common feature of the town and were tame because of generous feeding by the residents. As with People Waiting for the Interurban, The Traveler did indeed help draw people back to downtown Bend and has continued to be a centerpiece for town pride and celebration.
Bend, OR
1982, cast aluminum
The town of Bend, OR wanted to rejuvenate its downtown area and was impressed by the community success of Beyer’s People Waiting for the Interurban in Seattle. In 1981 Beyer was invited by Bend’s Art in Public Places committee to design a sculpture in keeping with the historic ambience of Bend. Beyer liked using a bench as a gathering place. The model for the figure was a homeless acquaintance of Beyer who was being helped by the Seattle Friends Meeting. The man is resting on the bench, looking into his empty wallet and contemplating what he should do next. Ducks from the nearby Mirror Pond keep him company. The ducks were a common feature of the town and were tame because of generous feeding by the residents. As with People Waiting for the Interurban, The Traveler did indeed help draw people back to downtown Bend and has continued to be a centerpiece for town pride and celebration.
The Traveler (Detail)
A Downtown Intersection in...
Bend, OR
1982, cast aluminum
The Traveler continues to spark the imagination of local people in Bend, OR who have named the figure, “Art.” A local photographer, Jill Rosell, has enjoyed documenting the many ways that “Art” has been decorated for different seasons and community events.
Bend, OR
1982, cast aluminum
The Traveler continues to spark the imagination of local people in Bend, OR who have named the figure, “Art.” A local photographer, Jill Rosell, has enjoyed documenting the many ways that “Art” has been decorated for different seasons and community events.
The Itenerant
East Harrison & Broadway
Seattle, WA
1981, Cast aluminum
The Itinerant is a bum, sleeping on a bench with the newspaper over his head so he can sleep. The sculpture sits in a Seattle pocket park and was placed there by Environmental Works. This was a group of architectural students whose goal was to promote community improvements. They were young friends of Beyer, who also designed the pergola over People Waiting for the Interurban. The bench the man is lying on was originally designed with a cross beam for passers-by to sit on and keep the man company. Unfortunately, that part of the bench was destroyed in 1994 by an old woman who used the sculpture as a memorial to her dead husband. She set a small fire underneath the bench and placed numerous reminders on top of the man – beer bottles, cigarettes and a potted plant. She was dancing around her memorial when police found her and took her to Harborview Medical Center for “an involuntary mental evaluation.”
Seattle, WA
1981, Cast aluminum
The Itinerant is a bum, sleeping on a bench with the newspaper over his head so he can sleep. The sculpture sits in a Seattle pocket park and was placed there by Environmental Works. This was a group of architectural students whose goal was to promote community improvements. They were young friends of Beyer, who also designed the pergola over People Waiting for the Interurban. The bench the man is lying on was originally designed with a cross beam for passers-by to sit on and keep the man company. Unfortunately, that part of the bench was destroyed in 1994 by an old woman who used the sculpture as a memorial to her dead husband. She set a small fire underneath the bench and placed numerous reminders on top of the man – beer bottles, cigarettes and a potted plant. She was dancing around her memorial when police found her and took her to Harborview Medical Center for “an involuntary mental evaluation.”
Donkey Ran Away From The MInes
Tonkin Park
Renton, WA
1984, cast aluminum
Renton, WA
1984, cast aluminum