#MM003 | May 9th, 2022
by Claire Flanegin
by Claire Flanegin
(the Broderick-Terry Duel Site)
Two small stone obelisks sit opposite each other in a clearing just outside of San Francisco that commemorate the last duel ever fought in California. Landmarks that you specifically have to go out of your way to find always have a layer of intrigue for me. Obviously the duelists didn’t know that the site of their gun battle would be just off the main road, but you do have to be determined to find this one.
Across the street from Lake Merced, there is an unassuming parking lot backing up into a small Daly City neighborhood. There is a marker next to a gate on the far side of the lot, which is the only indication that there’s actually something to be looked at. Beyond the gate sit the two obelisks representing where California Senator David Broderick and ex-Chief Justice David Terry, of the California Supreme Court, stood in 1859 for their duel. Long story short: Broderick was an abolitionist, Terry was pro-slavery, they exchange some harsh words, decide to duel, Terry kills Broderick.
While the historical event the monument represents is not insignificant, the space it occupies is not dominated by its weight either. The green space around the obelisks is often occupied by people from the neighborhood walking their dogs. Monuments do not have to be the dominant force in their environment— history can be marked unobtrusively with the same reverence.
#MM002 | May 2nd, 2022
by Cheyenne Concepcion
Playgrounds for Monumentsby Cheyenne Concepcion
In honor of national sculpture day, I want to spotlight one of Noguchi’s lesser known body of works: his playgrounds. I first encountered his playscapes at SFMOMA in 2017. I was in graduate school for landscape architecture, and luckily, the exhibition visit was a mandatory part of the course. I didn’t expect a monumental marble slide maquette to blow my mind, but on that day, it did. Because of that experience, Noguchi’s sculptural allure is always nearby when I think about the future of monuments – why can’t new monuments encourage viewers to play?
Noguchi’s earlier playground designs excluded slides and swings and instead sculpted the landscape to encourage free play. After his proposals were rejected by the New York City Parks Commission in 1934, his earthworks only grew larger and more ambitious. These playground designs are mostly unbuilt yet the artist left behind many admired maquettes of the designs.
One of his built projects, “Slide Mantra” was again presented within a museum setting at the Venice Biennale of 1986. Slide Mantra was carved out of Carrara marble blocks and materially so are most monuments. Slide Mantra is a beautiful example of how public art can be both protruding and playful, which brings me back to my first question – why can’t new monuments encourage viewers to play?
#MM001 | April 25th, 2022
by Claire Flanegin
An Un-Serra-monious Statueby Claire Flanegin
The haphazardly-made Junipero Serra statue is familiar to anyone who has used Highway 280 as a means to get from the South Bay to San Francisco; one stubby protruding finger pointing accusingly westward, suggesting the movement of the missionaries it represents. In addition to its origins celebrating mass death and colonization, it’s likely the ugliest representation of Serra to exist in California.
Monuments are often so concerned with aesthetics- stately columns, figures on horseback, stoic expressions- that it’s absolutely insane that this statue is as gross to look at as confronting the state’s bloody history. Serra’s likeness was so memorably creepy that my childhood best friend and I had a game we would play every time her mom would shuttle us up to San Francisco in her Volvo: “if he points at you, you’re his wife!!” we would shriek wildly as we ducked for cover in the backseat.
Childhood mythology aside, the statue was designed and financed by a local artist in 1976 where it has been looming over the freeway ever since. Drivers are free to pull off at a rest stop past the statue and hike up to the sometimes-unlocked gate in order to get a better look at Serra’s lumpy face. The massive 26 foot-tall monument sits atop a pedestal with the names of the California missions he established. Local legend has it that the sculptor in charge of applying the plaster to the metal frame did not have specific instructions on how the face should look and instead constructed it to resemble his own face.
Junipero Serra statues throughout the state have been torn down, decapitated, vandalized, and spirited away into storage by city councils for “protection”- so why has this one been immune to public outcry? A quick Google search does return some complaints, but they are mostly limited to calling the likeness “hideous” or “sculpted from mashed potatoes.” There are some claims online of the statue being defaced with paint, but my memories are limited to a foam finger placed on Serra’s outstretched finger and a cape (along with other accessories) appearing overnight on his shoulders.
While the roadside statue of Serra remains as ugly as his legacy, there are no plans to remove the statue so I will still be ducking every time I drive up to San Francisco.