WSU art structure in unresolved conflict

In 1974, a devastating tornado brought havoc and destruction to the city of Xenia, Ohio. The local tragedy impacted California-based sculptor, Guy Dill, to erect a sculpture in remembrance of the event and to honor the strength of those who survived. He was inspired not only by the 35 people who were killed in the massive tornado, but also by the spirit of the reconstruction.

This dream would not fully materialize until several years later. In 1977, as an adjunct professor at WSU, Dill began work on the sculpture. It was one of his first pieces of monumental scale. Armed with a $3,000 grant from the National Endowment for the Arts, Dill and his art students began work on the project.

Throughout the duration of the project, the sculptor allegedly rented a small, ill-conceived house to serve as his studio, and spent most of his downtime in a station wagon that was provided by the University because the heat was better in the car than in the house.

The project took more than 10 weeks to complete and was placed before the Creative Arts Building.

Then Art Department Chair, Ed Levine, was quoted in the Xenia Daily Gazette as saying the sculpture reflected the same power, energy and assertiveness that the people of Xenia were showing in the aftermath of the devastating tornado.

“Where is this work of art that was so highly regarded and so deeply inspirational?” you might ask. You probably have never noticed such a structure as you pass by or into the Creative Arts Building. That is probably because it no longer exists.

According to Dill, about a month following the completion of the sculpture, he received a call from WSU’s president Robert Kegerries, who apologized profusely for the “removal” of Dill’s newest work. Apparently a maintenance crew had cut up and hauled off the sculpture under the false impression that a new line of trees was to be planted in its place.

Naturally, Dill was devastated. He was later convinced by his friend Bob Rauschenberg, also a famous sculptor, to petition for reconstruction. WSU claimed that reconstruction would not be financially feasible. This response was seen by many as a waste of taxpayer money since the NEA had funded the entire project the first time around. Such grants are traditionally used for public education.

Dill’s assistant Maya Lujan was reached for comment and said that Dill very much still views this sequence of events as an “unresolved scandal,” yet would love to remedy the situation by aiding in the reconstruction of the sculpture were the University willing to fund it.

Lujan suggested that this would be a great way to “not only preserve the cultural history of the University and surrounding area but also serve as a very important recreation of work from the early career of a seminal American artist.”

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