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- Jul 15, 2023
- 4 min read

Robert Murray's "Nimbus"

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SATURDAY EVENING POST

July 15th, 2023

Detailed view of Nimbus

Photo credit: Kyle Juron

By 1977, Murray had already achieved notable success in the realm of public sculpture. A testament to his extraordinary talent and artistic vision, Murray was bestowed with the Allied Arts Medal by the Royal Architectural Institute of Canada. This esteemed award acknowledges Canadian artists and designers who create artwork intended to integrate with architecture. Murray was among the first artists to receive this recognition.

View of Nimbus in the snow

Photo credit: Juneau Nimbus Facebook page

During the same year, Murray secured a momentous commission to create a sculpture that would adorn the newly constructed state court building in the picturesque enclave of Juneau, Alaska. The sculpture has sparked both admiration and disdain since its inception. Over the years, Nimbus has weathered storms of criticism, removals, and restorations, making it an emblem of artistic provocation and an enduring symbol of debates over public funding for the arts.

This ambitious project received substantial financial support through an Art in Public Places matching grant, funded by the Alaska State Council on the Arts and the Alaska Court System. Following a thorough and meticulous selection process, a committee comprising erudite curators, local professionals, and the eminent architect of the courthouse unanimously chose Murray as the torchbearer of this artistic endeavour. In preparation, Murray made multiple visits to Juneau, engaging with the community and immersing himself in the landscape. The mountains, glaciers, and turquoise hues seen in indigenous artwork there became his inspiration.

Photos from the early 1980s of Nimbus in front of the Courthouse

Photo credit: Brian Wallace and Juneau Nimbus Facebook page.

The interplay between mountains and fjords in the region found its way into the sculpture's form, and it reflects Murray’s ongoing exploration of dynamic curves and expressive movements. The mesmerising folds, reminiscent of baroque drapery, as eloquently described by the celebrated poet John Ashbery in his heartfelt review of Murray’s work, exuded an intricate beauty that stirred the depths of the beholder’s soul. The artist encourages viewers to form their interpretations as they traverse around and through the 19ft tall imposing structure. The arch and supporting elements of Nimbus merge seamlessly, evoking fascination for its complex yet harmonious design.

Upon its installation near the Dimond Courthouse in the Spring of 1978, Nimbus faced immediate criticism from some individuals in the community, including lawmakers who found it unappealing and out of place. Juneau residents were divided, with some frustrated by its perceived lack of meaning and others deeming it outright ugly. Consequently, in 1984, legislation forced its removal from the court plaza, leading to its abandonment in a Department of Transportation yard. Interestingly, Nimbus' controversy served as a prelude to broader conflicts between conservative lawmakers and artists.

Deinstalled Nimbus, Photo credit: Juneau Nimbus Facebook page

Murray does not take the criticism personally; instead, he sees controversy as a necessary component of art. He believes that if his work fails to provoke a response or rattle people's cages, he is not pushing boundaries and challenging preconceptions effectively. Thus, he welcomes the ongoing controversy surrounding Nimbus. Murray attributes the criticism of it to a lack of familiarity with contemporary outdoor sculpture or outdated notions of artistic history. Robert Murray's artistic creations transcend the traditional norms of park sculpture and conventional monuments. His large, stationary, and monochromatic stabiles, of which Nimbus is one, redefine the boundaries of public art. By incorporating bending, folding, and twisting steel or other materials, Murray breathes life into stationary structures, evoking a sense of implied motion and dynamic forms. This artistic approach challenges viewers to reconsider the notion of static monuments and embrace the interplay of movement and rigidity in art.

Nimbus in front of the old Alaska Museum, Photo credit: Juneau Nimbus Facebook page

Detailed views of Nimbus, Photo credit: Kyle Juron

During its removal from the court plaza, Nimbus suffered damage, with 4 inches of steel left behind when it was hastily cut away. However, after spending five years in storage, the sculpture was recognised as an important historical artifact and was eventually displayed on the grounds of the old Alaska State Museum until its demolition in 2014.

Throughout its existence, Nimbus has experienced an intriguing journey. From its initial installation in a small round plaza to its removal and relocation as a historical artifact, Nimbus has undergone a remarkable evolution. After almost four decades, the sculpture was installed in its permanent home at the Father Andrew P. Kashevaroff State Library, Archives, and Museum in 2015, witnessing changes in stance and restoration to ensure its longevity. The controversies surrounding Nimbus have only added to its aura, making it an emblem of the ever-changing landscape of public art and the dynamic relationship between artists, critics, and the public.