The other day I came across an article: 5 landmarks you probably didn’t know about in Downtown Dallas. I knew four of the landmarks well, but had never heard of or been to Lubben Plaza outside the Belo building in downtown.
Last Saturday, after I did a group bike ride on Exposition Avenue and Deep Ellum that visited a number of fashion boutiques in the area (but before I came across the car fire) I wanted to ride a few more miles so I crossed downtown Dallas along the Sharrows on Main Street and jumped over to the park.
There were three cool sculptures there:
Belo Corp. developed Lubben Plaza in 1985 to commemorate the centennial of The Dallas Morning News. It was given to the City of Dallas in honor of Belo’s long-time employees, past and present.
It is named for John F. Lubben and his son Joseph A. Lubben, who together completed 101 years of combined service to the Company.
Belo commissioned three Texas artists to produce the sculptures installed here. “Harrow” by Linnea Glatt and “Journey to Sirius” by George Smith were installed in 1992 in commemoration of Belo’s sesquicentannial. “Gateway Stele” by Jesus Bautista Moroles was installed in 1994, when Belo developed the current Lubben East parking lot.
The most obvious piece was “Harrow”. It’s a giant steel spiral that rotates slowly around a circular bed of sand, cutting a series of concentric eponymous harrows and it goes.
by Linnea Glatt
Combining elements of time, motion and place, “Harrow” is an installation of many materials and elements. The motorized cone of Cor-Ten steel turns on a circular track completing one revolution in 24 hours. As the cone turns, its bands travel through a bed of sand forming concentric rings, Seats of Cor-Ten and wood are placed in informal groups amidst trees outside the circle of sand.
James Cinquemani designed and produced the mechanical elements of “Harrow”.
“I am interested in the idea of placemaking, of which this is my most obvious manifestation. Of my works, ‘Harrow’ is the most active and on the contrary the most serene and contemplative. The repetition and constancy of the bands of the cone drawing in the sand symbolize for me the cyclical nature of life and the balancing of life’s events. The gesture is meant to embrace, to settle and to provoke thought. As with my previous pieces, ‘Harrow’ implies a human presence and dialogue.”
I sat and looked at it for a while, but it didn’t seem to be moving. Maybe they shut it off on the weekends. I’ll have to check it out again, see if I can see it roll.