EVERETT — In 1979, the city of Everett was looking for an art piece for a concrete stairwell in what was then City Hall.
The city paid $5,000 for an icicle-themed sculpture by Keith Imus, who was an instructor at Everett Community College.
Almost immediately afterward, Imus raised concerns about how the sculpture was installed. Nearly 40 years later, he still has complaints.
The long-term life of public art is complicated, especially as buildings and spaces are changed or reconfigured. In 1979, Everett’s arts codes — which require public art to be included in city construction projects — were just 5 years old. Since then, art acquisition and contracts have gotten more complex, according to local experts.
Formerly of Lake Stevens and Priest Point, the 91-year-old Imus now lives in King County. His chief issue with the sculpture is its placement, he said. The old City Hall, at Wetmore Avenue and Wall Street, was turned into the Everett Police Department headquarters years ago. That means the sculpture remains in an area primarily used by police. It doesn’t see a lot of other foot traffic. City Council meetings are held in that building, but on the ground floor.
“It’s hiding in a stairwell now that nobody sees,” Imus said.
In the May 1979 contract, the city agreed to purchase a “hanging stainless steel sculpture,” in sections totaling 40 feet in length.
There are handwritten notes on the contract, reducing the height of the sculpture. The undated notes include language about a support structure, such as a sling. It’s not clear who wrote them, or whether they’re legally binding.
In July 1979, the city sent Imus a letter, saying it could not cover the cost of the sling. “We are sorry about the initial misunderstanding,” the letter reads.
It went on to ask Imus to participate in an essay project about public art at City Hall, saying, “We hope you will be agreeable to this, as the (arts) commission feels yours to be one of the most significant and exciting works they have commissioned.”
The next year, Imus sent his own correspondence, asking for a support cable to be removed. He said the contract did not allow for alterations by “your maintenance people.”
“P.S. Let it swing,” he added.
The city responded, asking for a meeting and saying it was considering adding a brace. There also was mention of possibly lengthening the sculpture, which the city said was allowed by its read of the contract.
Some of the icicle sections were hung in the public works annex, known as the “Creamery.” That’s been a source of contention for Imus, though the available records are unclear on how that came to be.
Imus said he thought of his piece as a single flow of snow and ice, inspired by icicles he’d seen in Everett.
“They took it apart without my permission,” he said. “Sculptures are sanctified space.”
City officials recently conferred with a former arts commissioner. They were told that the sculpture was hung in two sections from the beginning. Pictures of both installations were featured in Imus’ art book, which is in the EvCC library.
“Our current cultural arts team was not at the city when the sculpture was commissioned and installed, but they’ve spoken with an individual who was on the Civic Arts Commission at the time … ” city spokeswoman Meghan Pembroke said in a prepared statement.
“They’ve also measured the two sections of the sculpture. Combined, they are too long to have been installed in one piece in the Historic City Hall location without blocking a door.”
Pembroke noted that Imus is “a long-time contributor to the arts in Everett.”
Keith Imus is pictured with his icicle-themed sculpture in Everett City Hall, now the Everett Police Department, as seen in his art book.
Imus said he’d like to see the sculpture moved outside.
The city doesn’t think an outdoor display is feasible and there are no other places that make sense in city buildings, Pembroke said.
The city asked EvCC leaders about the situation, and they also “do not have any suitable locations at this time,” she said.
Imus is retired from the college, and EvCC was not involved with the icicle sculpture, other than the city’s recent inquiry.
However, the college has learned over time that art contracts can’t predict every potential challenge, including maintenance, cleaning and changing spaces. Its own contracts have become much more complicated, said Jeanne Leader, dean of Arts and Learning Resources.
In 2004, the college formed a committee to oversee maintenance and acquisition for the college’s large public art collection. Major decisions still go through the president.
“The stewardship of art work is no small thing, ” Leader said. “Art often lives forever, and it takes more than one person to think through that.”
Sometimes, art has to be moved, she said, citing an example of a building that needed to be remodeled to add a ramp, or another that needed room for a new heating system.
“When you purchase artwork, big, small or in-between, things will change,” she said. “Buildings go up and come down. They’re repurposed for different reasons … Art might be permanent, but I don’t think locations are permanent.”
That could be true for the icicle someday.
“If another suitable location is identified, we would be happy to explore whether there is an opportunity to relocate the sculpture,” Pembroke said.
Rikki King: 425-339-3449; rking@heraldnet.com. Twitter: @rikkiking.
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