Carbon Sink – What Goes Around Comes Around was installed on the U.W. campus in late 2011. Funded by an anonymous donor and by the state Cultural Trust Fund, it consisted of a 36-foot-wide circle of logs from beetle-killed trees, arranged in a whirlpool pattern around a pile of coal. Artist Chris Drury hoped the sculpture would be left in place until it disintegrated, and the director of the campus art museum said there were “no plans to uninstall it.” It was, Drury said, intended to inspire a conversation.
Slate: “In May 2012, however, just after most students left campus, Carbon Sink quietly disappeared.
When University of Wyoming graduate Joe Riis inquired about the fate of Carbon Sink, a university vice-president told him that it had been removed due to water damage. But emails recently obtained by Irina Zhorov, an enterprising reporter at Wyoming Public Media, tell a different story. After the university announced the installation of Carbon Sink, Marion Loomis, the president of the Wyoming Mining Association, wrote to a university official and asked: “What kind of crap is this?” Both industry representatives and state legislators weighed in on the sculpture, some threatening the university’s funding in no uncertain terms.
Read on at Slate.
Chris Drury’s Carbon Sink: What Goes Around, Comes Around
Chris Drury discusses his site-specific sculpture, Carbon Sink: What Goes Around, Comes Around. The work is part of University of Wyoming Art Museum’s ongoing exhibition, Sculpture: A Wyoming Invitational. Drury added his work in the summer of 2011.
The Sculpture: A Wyoming Invitational invitational originated in 2008 as a temporary outdoor exhibition in response to the University of Wyoming Art Museum’s extended closure for renovations and to the increasing interest on campus and in our community for public art. Originally, seventeen sculptures by sixteen artists were on view. By special invitation, the artists of Ark Regional Services created an outdoor work for the Creative Arts Center. Today, twelve works from the original exhibition remain on view.
Photo by Chris Drury from The New York Times.