THURSDAY, OCTOBER 6, 2005
FROM PAGE 5
Kim Radochia, a Massachusetts
native, sculpted “Swept Up,” a
metallic piece located in front of
the police station on Martin Luther
King Jr. Boulevard. She said some
outdoor shows have strict entrance
requirements, but Chapel Hill’s
open-call exhibit makes the public
art domain more accessible.
“Sometimes you have to meet
certain qualifications, which can
be very difficult if you’re trying to
break into the field of public art,”
Each of the artists is given an
honorarium of S6OO for his or
her work, which covers the cost
of transporting the sculpture to
Chapel Hill and setting it up.
If a piece is sold, the town gets
a 15 percent commission for that
work —but Flory said profiting
from the pieces is not a priority.
“That isn’t our goal at all, to
sell the pieces,” she said. “Our
goal is to showcase the artwork.”
This year’s pieces range in price
from about $2,000 to $25,000.
From the 2004 show, Chapel
Hill resident Terry Barnett
bought “Sun Search” —a tower
ing bright yellow experimental
sculpture by Wayne Trapp.
Barnett, who refers to the
piece as “Here Comes the Sun,”
said he chose it for its inspira
“It is bright and sunny, and
to me it shows optimism and
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rostering an entrepreneurial climate at UNC
The CEI Research Seminar Series presents
The Last Resort for Venture Capitalists”
Professor and Chair of Economics and Econometrics
University of Notre Dame
October 14, 2005. Noon. Hamilton Hall 271
Inventor quality and past success with technology transfer are strong
predictors that university inventions will be licensed to startups and
established firms, according to research by Richard Jensen and colleagues at
Notre Dame. Conversely, a slight increase in the rate of return to venture
capital, or the interest rate, significantly reduces the annual number of
startups licensed by a university.
Jensen’s research examines the experience of universities that
commercialize their inventions through licensing. He provides a theoretical
model that can help technology transfer officers plot successful licensing
Jensen is an expert in microeconomic theory, industrial organization, international
trade and environmental economics. His current research focuses on innovative
pioneering, innovation diffusion, and the behavior of university technology transfer
officers. His research has been funded by the National Science Foundation, National
Bureau of Economic Research and Ewing Marion Kauffman Foundation, and
published in the American Economic Review, Quarterly Journal of Economics and
Journal of Economic Theory. Jensen is co-editor and fellow of the International
Journal of Industrial Organization.
The CEI Research Seminar Series is open to UNC faculty, staff, students and
others interested in interdisciplinary research issues related to
entrepreneurial scholarship. For more information on the CEI Research
Seminar Series, contact Howard Aldrich, Kenan Professor/Chair of
Sociology, (919) 962-5044, email@example.com
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confidence and faith in a better
future,” he said.
Barnett also said he favored
Chapel Hill’s approach to an out
door art event.
“One thing that I like that the
public arts commission is doing
is it’s not looking to buy, it’s sim
ply renting,” he said.
Chapel Hill funds the work of
the arts commission this year
through a grant of $125,000,
Flory said. The money helps cover
some of the artists’ honorariums
and the exhibit’s operating costs.
“It’s nice that we’re adding to
the collection of the town, wheth
er it’s town-owned or not, through
this program,” Flory said.
One of the pieces in a past
exhibit was even purchased by
the town. Betty Branch’s “Once
Upon a Time” was displayed
in front of the town library for
Since the sculpture of a girl
reading a book was so beloved
by library members, former
Town Council member Lee Pavao
helped raise the funds to buy the
work after the library’s director
asked him to get involved.
“Everyone thought the town
owned it, and when they found
out it didn’t, they were disap
pointed,” Pavao said.
Though the artists don’t choose
their sculptures’ locations, Flory
often places them according to
how their themes or structures
will complement the settings.
Boone resident Wayne Trapp,
who has two sculptures in this
year’s show, “Back Packer” and
“Kyoto and Beyond,” said he was
happy with his work’s placement
“The Kyoto piece is down at
the museum, and I think it just
compliments the architecture
beautifully and the grounds
around,” he said.
The local flavor
Outdoor art exhibits such as
“Visions” are popular throughout
the state as well as the country.
Greensboro hosted the North
Carolina Outdoor Sculpture
Exhibition in 2003 and 2004,
and the Florida Outdoor
Sculpture Competition is held
each year in Lakeland.
Doug Makemson of Georgia,
who crafted the Roberson Street
“Crane Queen” sculpture, said the
shows are appealing to commu
nities because of how they help
the overall aesthetic.
“They’re of the belief that it
makes the quality of life better to
put the public art up,” he said. “It’s
cheaper than buying a work, and
they get fresh work every year.”
An outdoor setting also gives
the artists more freedom and chal
lenges their creativity, said Shelby
Davis of South Carolina, who
sculpted “Through,” on display at
the Estes Drive fire station.
“You can do a lot more outside
than you can inside,” he said.
“With white walls it’s a little more
poignant, but when it’s outdoors,
you have to compete with trees
and other surroundings.”
But there are disadvantages
to an outdoor show. Some artists
said bad weather conditions can
be a concern.
Robert Coon of Florida, sculp
tor of the Mayan god statue
said he takes nature’s potential
to cause ruin into account when
crafting his work.
“I go to great efforts to make it
something that both the sculpture
and the paint job can withstand
the elements at least as long as
a Mercedes,” he said.
As popularity for sculpture
competitions increases, college
towns specifically have seen more
of these types of outdoor events.
Ithaca, N.Y., home to Cornell
University, hosts “Art in the Heart
of the City.” “ArtlnPlace” is held in
Charlottesville, Va., home of the
University of Virginia.
“In college towns those town
councils seem to be more liberal
about art and brave in accepting a
proposal,” said Elizabeth Breeden,
executive director of “ArtlnPlace.”
But these kinds of exhibits
certainly aren’t exclusive to col
lege towns, said Hanna Jubran of
Grimesland, creator of the “Earth,
Water, Fire, Wind” sculpture at
the fire station off Martin Luther
King Jr. Boulevard.
“A college the diversity may
enhance it,” he said. “But it has
nothing to do with the college.”
Regardless of the community,
artists said long-term, large-scale
exhibitions with outdoor settings
are an opportunity to get their art
out to the public. A way for their art
to achieve its purpose: to be seen.
“You can make a work and
put it in your driveway up to
a point,” said Makemson, creator
of the crane sculpture. “But you
really have to get it out there.”
Contact the A&E Editor
THE Daily Crossword By Alan P. Olschwang
1 Carp cousin
10 Fashion of the moment
15 Bast fiber plant
16 Mild expletive
17 Pulitzer winner of 1958
18 Minneapolis suburb
20 Start of Mason Cooley
23 Helmut's three
24 Taro dish
25 Tough trial
28 Grocer's concern
33 Unit of wisdom?
34 Perm milieu
35 Bikini part
36 Charged particles
37 Part 2 of quote
38 Saline drop
58 Average grades
59 Ecole student
60 Auto pioneer
61 On the less windy side
63 Brooding place
1 Plug of tobacco
2 Mr. Hefner
3 1934 Nobel-winner in
4 Bar gadgets
5 Fairy-tale girl
6 Wheel spokes
7 Novelist Kingsley
8 1492 ship
9 Recipe measure
10 Shrink back
13 Idyllic place
39 Hoops event
40 Dead, as a
41 Hang in loose
44 Put on a first
45 Lacking experi
46 Close securely
47 End of quote
55 Asta's mistress
56 City on the
57 Invention origi-
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SUNDANCE FiitiHsm :
Swords makes dull
LP with little edge
BY BRYAN REED
Some bands just don’t rock.
Swords is one of those bands.
On its debut album Metropolis,
Swords combines elements of post
punk, electronica and alternative
rock with occasional string arrange
ments and new-wave keyboards.
Then it takes a good idea and
demolishes it by toning it down.
What’s left is a travesty fronted by
singer and bassist Corey Ficken.
His high-pitched, sleep-inducing
croon brings to mind contempo
rary Christian artists such as Steven
The music of Swords, while brim
ming with potential, is overwhelmed
by Ficken’s drowsy vocals and stifled
to the point of frustration.
Overall, the band sounds like U 2
on Valium, except for the untitled
track five, where the band wastes
two minutes and ten seconds of the
listener’s life on an experimental
ambient fare that sounds more like
the band retuning its instruments
instead of playing a song.
However, at times the sedated
sounds are effective, as in the haunt
ing “Family Photographs,” which is
about a broken home.
The band challenges Ficken in
the synth-heavy “Radio Radio” by
upping the musical intensity ever
so slightly, but the sleepy singer still
manages make the track boring.
By the last two tracks, “Metropolis”
and “The Last Song,” Swords has
finally thrown in the towel and falls
back to the slow pace of the voice
at the front, making for a cohesive
end to the record, even though both
songs reprise earlier tracks.
The latter is an ironic homage to
’Bos heroes Hiisker Dii.
21 Preacher Roberts
22 Butcher's cut
25 Think oul loud
27 "Divine Cbmedy" poet
28 Rani's waps
29 Think ah<ad
30 At right aigles to the
31 Jelly choic*
32 Like some ;eals
34 Fly high
37 Came into blQm
38 Immense quality
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MUSIC lEVIEW 1
The members of Swords shor
they still have plenty of room to gror
as a band on the cooperative front
Musically, they push towarf
experimental post-punk, but voca
ly they’re stuck singing along b
Dashboard Confessional and wisl
ing they could rock that hard.
Fortunately, all the members ae
involved in other careers outside f
the music industry.
They should keep their dayjols
for a while longer.
Metropolis is pretentious and
insipid. Lyrics abound with sant
repetition that accomplishes litle, if
anything at all.
Also in the filler are redunlant
gems like “Out in the streets gbsts
walk the streets,” in the title tra.
Another pearl of Swords’ rhebri
cal mastery is the deep and phlo
sophical lyric, “What is the us of
this useless information?”
Perhaps the real question is: Wiai
is the use of this useless record?
Contact the A&E Edita
(C)2005 Tribune Media Services, Inc.
All rights reserved.
40 Constellation compo
41 Dull situation
46 Sifting utensil
47 Andes people
48 Coward of note
49 Shade provider
50 Flight school final
51 Cal. abbr.
52 Like a couch potato
54 Bridge position