Susan Bonicillo Columnist

If you look at life from a purely biological and physiological stance, then all that humans need to survive is shelter, clothing, food and water. Everything else, on this view, is just irrelevant and a waste of time. Yet we are not entirely practical and utilitarian creatures. Having our basic needs met is not enough for the human experience. We need not only to survive; we also are driven by the need to communicate and share thoughts.

This fact is made even more apparent because art, one of the most honored means through which people can convey the intangible, thrives and exists. Even our primitive ancestors recognized the importance and necessity of creation and the cultivation of self-expression, as demonstrated by their massive cave wall murals that remind us that there is more to life than eating and procreating, though others may beg to differ.

Though art, in general, is well received by people of all walks of life, there is still some controversy in the genres and styles that are used in the creative process.

And this is where the controversy over modern and contemporary art rears its subjectively ugly head.

Even some people for whom the names "Raphael" and "Leonardo" conjure up images of teenaged mutant ninja turtles rather than the great master painters have strong objections to modern art.

This feeling of aversion can be summed up in the words of the American poet John Ciardi: "Modern art is what happens when painters stop looking at girls and persuade themselves they have a better idea."

Perhaps this is a case of not recognizing genius in its own time, or maybe the art is just plain bad, but the aesthetic value of modern art is still a hotly debated issue.

Nonetheless, despite those in the populace who disagree with the abstract and avant-garde forms and methods, it's hard not to stumble across some examples of modern art while scurrying about or dawdling between classes. Usually, they come by way of sculpture, like the now defunct purple steel rendering of a seesaw by the Old Main fountain or the giant hairpins in a windy formation near the university's entrance on North Campbell Avenue.

The latest addition to our outdoor gallery is right in front of the Student Union Memorial Center. The four massive human figures situated around a replica of the U.S.-Mexican border wall were the result of a collaborative effort between artists Alberto Morackis and Guadalupe Serrano. Commissioned by the Tucson-based non-profit organization Beyond Borders National Art Foundation, the piece was meant to raise questions and bring about debate regarding border issues.

Unveiled Sept. 22 before a crowd of hundreds of socially conscious, artistically inclined and just downright curious onlookers, the installation opened to mixed results from the student body - modern art usually has that effect on people.

However, this sculpture was different from the others around campus in that it was meant to only be here on a temporary basis.

Well, at least it was supposed to be here temporarily. Right now, we're a little past the Nov. 15 date that was supposed to signal the end of the display. Although there are those who appreciate the fact that the sculpture raises cultural awareness regarding immigration, there are a significant number who would rather see the sculpture gone.

This feeling is not motivated by indifference to the cause, but by the fact that, like Ashton Kutcher's ego, it's just much too big.

Lovingly nicknamed "the monstrosity" or "that thing" by students, the sculpture creates a major inconvenience during those busy midday hours when all you want to do is escape the swarming mess that is the student union.

Like the belligerently drunk uncle at the family Christmas party, the sculpture has worn out its welcome. The novelty of seeing the innards of the soaring 14-foot humanoid figures on a daily basis has clearly worn off among the student body.

However, on a bright note, unofficial word from ASUA says that it should be taken down by the end of the month. In the meantime, what are we supposed to do before some other campus or museum gets to enjoy "the monstrosity?"

I suggest to students that instead of resenting the sculpture, we embrace it. This is the perfect opportunity to band together and take control of what gets displayed around campus. We can all get in the holiday spirit and string up some Christmas lights and tinsel. Perhaps we can even get a greek-sponsored knitting circle (because you know they need to put in their two cents somewhere) and create some industrial-sized scarves for the four human figures.

It can be a massive, campusöwide event, giving us a creative outlet during the madness that is finals week. What better way to bring a community together than to reduce art to tackiness?

Susan Bonicillo is a journalism sophomore. She can be reached at letters@wildcat.arizona.edu