Ravinia 2024 Issue 5

Ravinia’s collection, Hunt said, has been built through “the artistry of circumstance.” Some of the pieces were offered up for donation, others assidu- ously solicited. And while many of the works have some obvious connection to music and nature, others are more open to varied interpretations. Hunt chuckled at the nickname Ra- vinia-goers gave to John Henry’s painted aluminum work, Ann Arbor . “French fries,” he said knowingly, pausing in front of the bright yellow sculpture. “That’s just one of those things that happens in an artist’s career.” Walking past the Pavilion, Hunt regarded the decorative carousel horse he crafted in honor of the Ravinia’s 2004 centennial, pleased to see it surrounded by newly planted flowers. “They’re not only colorful, but also provide a way of having it out in the environment and isolating it at the same time,” he said. Crossing the South Lawn to head back toward the main gate, Hunt paused to consider how the space has changed with the addition of each new work. “Before,” he said, “it was just a meadow with trees. But now, when you look at it, you start to think about the relationship between a natural setting and certain forms.” The start of the sculpture walk, seen through Hunt’s eyes, is a kind of runway for flights of the imagination. It is also, he knows, a much-loved and much-used public space. So the unavoidable trash receptacles and sprawling picnic-cater- ing sites are all a part of the exhibition. “I like to see people interacting with it,” he said, and as the tour nears its end, having come full circle, Hunt got a chance to demonstrate exactly what he meant. A lone concertgoer had set up his lawn chair—and his can of Busch beer—right next to one of Hunt’s sculptures. But while a less populist artist might decry the man’s apparent lack of rev- erence for the sculpture, Hunt instead strode over to shake the man’s hand. He struck up a conversation with Kenneth Bernardi, talking about the sculpture walk and the way it’s come to define the public space at Ravinia. “I want you to know I respect your work,” Bernardi told him. “So I’m sitting beside to leave the view for other people. And, you know, not touching it.” Hunt thanked him for his enthusiasm and enlisted the photographer to take a picture of the two them. The work, Hunt told Bernardi, is now “a collaboration between us.” D ebra Pickett is the founder and principal consultant of Page 2 Communications and was a regular contributor to Ravinia Magazine between 2007 and 2012. Counter-clockwise from top: Hunt reviews design notes and marks progress on Beyond the Frame , his first wall-hanging sculpture, commissioned by Ravinia; Hunt torches portions of the bronze to achieve unique, vibrant coloration; the final sculpture in pride-of-place in the Park View Restaurant since its unveiling in 2012. Hunt also created Joan’s Bench (outside the Freehling Room) for Ravinia that year, and Piano Passion (in the Harza Building) followed in 2013. RAVINIAMAGAZINE • AUGUST 19 – SEPTEMBER 1, 2024 18