Busch Campus is notable for its math- and science-based disciplines and its many athletic venues. The sculpture here, some of Rutgers’ newest, is mostly abstract, which helps convey the campus’s energized, future-oriented vibe. A few pieces are deliberately representational: a football player in midstride and a collection of biological organisms. Download the PDF.
Busch Campus Sculpture Tour
Chichen Itza Blue (1986), Igael Tumarkin
Donated by Philip and Muriel Berman, Chichen Itza Blue stands in front of the Buell Apartments. It was recently restored to its original brilliant blue color. The artist, Igael Tumarkin, is famous for incorporating symbols of Holocaust remembrance, in this case train tracks, in his sculpture.
Reflections (1982), Reuben Karol
Tucked into a corner of the Engineering Quad is a contemplative figure seated on a stack of books. Entitled Reflections, this original take on the classic thinker pose was created by Reuben Karol as a gift from the Engineering Class of 1982.
Split and Twisted (1980), Paul Sisko
Philip and Muriel Berman donated Paul Sisko’s Split and Twisted to Rutgers in 1980. The powerful breakage of steel exaggerated by intense red color draws the attention of pedestrians. The sculpture, found in front of the T. Alexander Pond Science and Engineering Resource Center, was installed in 1981.
The PhD Molecule (2017), Larry Kirkland
In front of the Chemistry and Chemical Biology Building, a large stainless-steel model of a caffeine molecule balances on a black granite base covered with chemistry symbols. Think of the 27-foot-tall sculpture as an homage to the late-night brainstorming, meticulous experimentation, and endless cups of coffee that fuel groundbreaking research.
Signal (2009), Ralph Helmick
Signal, an abstract human figure in motion, reflects the discipline of the Biomedical Engineering Building in front of which it sits. The motion of the anthropomorphic figure is dependent upon the viewer’s perspective of the sculpture although the work itself remains stationary.
Signal evolved with the goal of creating a kinetic sculpture that didn’t actually move … [and] is unusual in that the piece still sings in overcast days when other sculpture fades. This is because no matter what the conditions, a horizontal pipe will always create some sort of shadow within. —Ralph Helmick
Life Forms (2005), Michele Oka Doner
In the atrium of the Life Sciences Building, the terrazzo floor comes to life with artist Michele Oka Doner’s embedded images of organisms glistening under the sunlight.
Untitled and Untitled (1993), Patrick Strzelec
These two works by Patrick Strzelec are well known by students who frequent Busch Campus bus routes. Less known to passersby is that two people speaking into either end of the piece shown at left, on the Psychology Building’s southern end, can hear each other through the sculpture.
Quaternion I and II (1992), Livio Saganic
Quaternion I, left, and Quaternion II are sister sculptures flanking the Environmental and Occupational Health Sciences Institute. Livio Saganic designed the abstract works around the word quaternion—referring to four dimensions—for unknown reasons.
Synergy (2013), Julian Voss-Andreae
Synergy stands outside the Center for Integrative Proteomics Research as a towering collagen molecule, the human body's most abundant protein. Julian Voss-Andreae, whose work is influenced by his background in quantum physics, designed three entwined protein strands to reflect the center's interdisciplinary research.
Hippocrates (1973), Costos Georgakas
This six-foot tall statue of Hippocrates, the father of modern medicine, stands at the entrance to the Daniel I. Kessler Teaching Laboratories of Robert Wood Johnson Medical School. Artist Costos Georgakas created five similar statues and donated them to universities across the country. At the base of the statue is a plaque with the Hippocratic Oath, the reciting of which is a rite of passage for practitioners of medicine in some countries.
Barcelona (2002), Toshiko Takaezu
Near the main entrance to Robert Wood Johnson Medical School, Barcelona consists of a bronze bell suspended from a wooden framework, modeled on a traditional Japanese temple gateway. Artist Toshiko Takaezu said the name was inspired by her travels in Spain, when she could hear the mellow sounds of a church bell from her hotel, reminding her of her unfinished work back home.
Chiron (1983), John Goodyear
Walk across the outdoor plaza in front of the Robert Wood Johnson Medical School building and you’ll notice some dark square pavers among the light ones. The pavers are arranged in an image of Chiron, a centaur in Greek mythology renowned as “the wounded healer” and teacher skilled in archery and medical arts. The image becomes visible when viewed from above.
Neither Whales nor Turtles (1990), Jene Highstein
Neither Whales nor Turtles plays with the viewer’s concept of volume and space. The sculpture is located in the courtyard adjacent to the Center for Advanced Biotechnology and Medicine.
RevolUtionary Monument (2015)
A gift from Johnson & Johnson to longtime neighbor Rutgers University in honor of 250th anniversary of the institution's founding, the installation, found by the Visitor Center, comprises the word revolutionary in large white steel letters, with the first R and the U painted scarlet and capitalized. The piece refers to the university tagline "Revolutionary for 250 years." The monument was installed at temporary sites throughout Rutgers during the anniversary year before finding a home on the Busch Campus.
The First Football Game Monument (1997), Thomas Jay Warren
A talisman touched by players before a game, The First Football Game Monument stands outside of High Point Solutions Stadium, a reminder that Rutgers is the birthplace of college football and the winner of the first college football game.
I sculpted the 8-foot clay enlargement [of the sculpture] in an uninsulated and unheated studio in the Blue Ridge Mountains during the winter of 1996. The finishing of the bronze at the North Carolina foundry I used was down to the wire . . .I worked all day and night there finishing the metal and applying the patina. In the early morning hours I loaded the sculpture on a trailer behind my pickup and drove all that day and night with no sleep to New Brunswick so I could meet the installer and the crane at the scheduled time . . .After the installation was complete, I stayed with my friends in Edison . . .They remember that I showed up at the door, walked straight through the house, and collapsed in a hammock in the backyard. I slept there the rest of the day. They still laugh about it.” —Thomas Jay Warren