Waiting for the Interurban
By Rich Beyer
WAITING FOR THE INTERURBAN may be Seattle's best loved public work of art. The cast aluminum statuary group by RICH BEYER was erected as an act of love for the community, before it had been fully subscribed, with assistance from the Fremont Public Association. A councilman who opposed the statue was immortalized by adding a dog to the group and giving it the morose, bearded face of the councilman! After the work had been installed, dressing and decorating the statues quickly became the thing to do in the Fremont neighborhood.
Every few days the figures are newly decked out by another unseen hand,
commemorating birthdays, graduations, anniversaries, and goodbyes. From time to time it's commandeered for delivering political messages. This playful interaction is a prime example of Seattle's tongue-in-cheek relationship with its public
art.
WAITING FOR THE INTERURBAN may be Seattle's best loved public work of art. The cast aluminum statuary group by RICH BEYER was erected as an act of love for the community, before it had been fully subscribed, with assistance from the Fremont Public Association. A councilman who opposed the statue was immortalized by adding a dog to the group and giving it the morose, bearded face of the councilman! After the work had been installed, dressing and decorating the statues quickly became the thing to do in the Fremont neighborhood.
Every few days the figures are newly decked out by another unseen hand,
commemorating birthdays, graduations, anniversaries, and goodbyes. From time to time it's commandeered for delivering political messages. This playful interaction is a prime example of Seattle's tongue-in-cheek relationship with its public
art.
In response to Homeland Security's 2003 dicta, the statues are wrapped in Visqueen plastic secured by duct tape.
Sign reads "ARE WE SAFE NOW?"
