Adjacent, Against, Upon Sculpture

Gazing upon Adjacent, Against, Upon, one might initially perceive merely three granite behemoths. But look closer. Here in Myrtle Edwards Park, Michael Heizer’s 1976 creation whispers a story of art, controversy, and ultimately, acceptance. Adjacent, Against, Upon wasn’t always a beloved fixture. Commissioned by the Seattle Arts Commission, it was one of the first large-scale outdoor art projects funded by the city’s “1 Percent for Art” ordinance. The ordinance allocated funds from capital improvement projects to bring art into public spaces. Myrtle Edwards Park itself has an interesting past, evolving from a dumping ground for debris from the I-5 construction into a green oasis. Heizer, known for his monumental earthworks like “City” in Nevada, envisioned three enormous granite slabs interacting with concrete plinths. One slab rests atop a three-sided plinth, another leans against a four-sided one, and the third stands adjacent to a five-sided plinth. The granite, quarried in the Cascade Mountains, journeyed by barge and rail to their final resting place. The two larger blocks weigh a staggering 45 tons each, the smaller one a still-impressive 28 tons. Adjacent, Against, Upon immediately sparked debate. Its minimalist nature puzzled some, while the cost, exceeding $80,000, shocked others. Even Myrtle Edwards’ family voiced concerns about the sculpture’s suitability for the park bearing her name. The park board considered relocation, but ultimately, Adjacent, Against, Upon remained. Heizer himself faced challenges. Budget constraints limited his experimentation with placement. The sheer logistical complexity of transporting the massive stones also imposed limitations. He later admitted to facing numerous constraints due to the city contract. He had “never worked with so many rules before”. Public reaction ranged from confusion to outrage. The city defended the project, emphasizing the economic benefits to local businesses. They also reminded the public that art is inherently controversial. Over time, the controversy subsided. People began to appreciate the sculpture, finding solace and enjoyment perched upon the stones, gazing at Puget Sound. Generations of children have grown up playing on Adjacent, Against, Upon, transforming it into a cherished landmark. What was once a source of contention is now an integral part of Seattle’s artistic landscape.