Celoron has formed a committee—consisting of an art teacher, a local artist, a village resident, the chairwoman of the county’s artists guild, and the executive director of the Lucille Ball-Desi Arnaz Center for Comedy—to vet the submissions of some sixty sculptors.
“I would hope that they will have a recommendation in a couple of months,” the village’s clerk-treasurer replied to me.
, properties still very much what the industry lovingly calls “robust.” The critic Rex Reed joined her there at the complex one day in 1968, just after she’d sold to Paramount.
“In five years she had moved into Howard Hughes’ old offices,” Reed impressed readers, “and, flitting back and forth from the sets of her TV shows to the green-chintz chairs in her executive suite, had turned thirty-six soundstages and sixty-two acres of real estate losing nearly a million dollars a year into the biggest gold-mine TV-producing facility in the world.” For Lucille Ball with sky-blue eyes and red-wax candy lips, crowned with an apricot do and frocked in polka dots, was a fast-minded and hard-nosed businesswoman.
Once you have your structure and you deal with the forms, there’s the expression.
It’s a massive, complex issue with all the musculature going on in the face, especially around the eyes, which creates these bubbly and interesting persons like Elizabeth Montgomery.” Williamson’s voice is leavened with a certain amount of awe.“If you do it really well, the sculpture has a kind of presence—you nearly think it will speak to you.” ’s old soundstage, wished to acquire Scary Lucy.But a better twist saw the small town opt to permanently loan the controversial bronze to the new National Comedy Center in Jamestown, an expansion of the Lucille Ball-Desi Arnaz Center for Comedy.“The things you see now are horrifying,” she told Reed in another of their interviews, “and you’re supposed to laugh at them …They’re buying tickets and lining up to see sex and violence, and the new generation is already sullied with hopelessness. If Walt Disney was alive, he might have some answers,” she added.Fans showed up in Celeron and next-door Jamestown, the actress’s birthplace, in numbers.They were on a kind of pilgrimage, Ruth reported, “just to get as close to her as possible.” — Two decades later, a couple commissioned the sculptor Dave Poulin, then early into his career, to make Lucille Ball. Poulin chose to render an iconic but an especially tough scene—he depicted her in season one as the TV spokeswoman for the elixir Vitameatavegamin, which the Lucy finds to be 23 percent alcohol, and gross.“When she thinks of something,” Reed wrote, “she jots it down and sticks each message to herself on the steering wheel of her car with Scotch tape.It’s not unusual to find ten of them taped on at the end of the day.” Ball spun herself into a franchise with three more increasingly unsatisfying television series, all under the mantle of a titular character named “Lucy.” She became a member of television’s ancien régime, damning because she didn’t get it.To show those lashes, you can’t just put on a lump of clay and gouge it; you have to them.This is where many portraitists fall down: they tend to be literal.” “If we go back to Salem and the witch, absolutely this same difficulty came up.