As one looks outside the massive floor-to-ceiling windows of Collins Dining Hall at Claremont McKenna College (CMC), what meets their eyes is a pile of scrap metal, petrified wood attached to rusted metal rods and four enormous white loops.
Some viewers find these public art pieces scattered around CMC’s campus striking and provocative. Others deem them eyesores.
CMC prides itself on its public art collection, which is overseen by the school’s Board of Trustees through its public art program. The program aims to “integrate art into all aspects of campus life and provide an opportunity to engage with the arts and others constructively.”
Most notably, the new glass sculpture “Qwalala” by Pae White has garnered widespread animosity from the CMC community, although it has a few vocal supporters.
Benjamin Smith CM ’24 described the CMC community’s opinion on the sculpture as initially monolithic, noting that attitudes toward “Qwalala” have shifted throughout its first two semesters on campus.
“Everyone hated [“Qwalala”] at first,” Smith said. “But slowly, I’ve started to notice that everyone started to change their tune a little bit — it’s growing on people over the school year.”
Smith has begun to enjoy the way the colorful sculpture illuminates his Mid Quad dorm room at night, but he misses the loss of greenspace due to the sculpture’s placement.
Students frequently use the sculpture itself as a lounge space, with many opting to sit within the curves of its glass brick walls.
Non-CMC students were not as affected by the removal of the greenspace, allowing them to have an unencumbered appreciation for the sculpture. Serena Li PO ’26 remarked that she enjoys CMC’s art, especially the “Qwalala” sculpture.
“I personally like [“Qwalala”] as a non-CMC student,” Li said. “I enjoy walking past it when I’m walking to CMC, either to eat at the dining hall or to go through the campus.”
“Everyone hated [“Qwalala”] at first. But slowly, I’ve started to notice that everyone started to change their tune a little bit — it’s growing on people over the school year.”
Li explained that for Pomona students like herself, CMC’s architecture and art reflect the school’s pre-professional ethos. Li said that the glass elements and modern architectural style of “The Massoud,” commonly referred to as “The Cube,” and the surrounding five-story Kravis Center contribute to a clean, corporate feel.
Rohaan Bhojwani CM ’26 shared Li’s sentiment, saying that the campus’ art is a nod to the college’s emphasis on practical knowledge. Pieces such as “The Massoud” and The “Modified Social Benches” serve functional purposes in addition to their aesthetic value.
“Maybe not as much floweriness as we see in other colleges’ art, but more grounded in reality,” Bhojwani said.
Director of Public Art at CMC Kimberly Shiring described in a press release the goal of artwork displayed around CMC’s campus.
“[CMC’s Public Art Program] seeks to integrate arts into all aspects of campus life and augment and enhance our core institutional values as a residential liberal arts college,” Shiring said.
“The Massoud” is Bhojwani’s favorite piece on campus, largely because it is named after Robert A. Day Distinguished Professor of Accounting Marc Massoud.
“He was my favorite professor,” Bhojwani said. “So, every time I walk by it, I think of him.”
“The Massoud,” a glass cube-shaped structure that sits in a Mesabi black granite reflection pool, is the centerpiece of CMC’s campus. Walking into the building, one can expect to find a quiet atmosphere conducive to studying or relaxing.
“The Enigma of Pleasure” is a scrap metal sculpture directly in front of Collins. One of the four pieces by Carol Bove visible from Collins’ large windows, the piece was installed in 2019.
While Kate Schwab CM ’26 finds the sculpture’s name humorous, she doesn’t hold a high opinion of the art itself.
“I just think [the name is] funny and definitely not what I would call a pile of trash,” Schwab said. “It kind of looks like the remnants of a really bad car accident in the 1960s.”
Schwab’s favorite public art piece, “The Modified Social Benches” by Jeppe Hein, is a popular pick among students.
Located immediately next to the Hub Grill, CMC’s cafe, the benches are a striking red color and feature whimsical loops and bends, making for a unique sitting experience.
Some students even feel that the benches are underutilized.
“I like the red benches,” Li said. “I think they’re visually very attractive. I just don’t ever see people sitting on them.”
Outside Roberts Pavilion sits “Meet in the Middle” by Christopher Burden, a circular formation of benches and street lamps that illuminates the surrounding plaza. The piece is reminiscent of his iconic Los Angeles fixture “Urban Light.”
Its location on CMC’s southern side, away from the central and residential areas of campus, makes the installation less prominent compared to other works such as the Cube and “Qwalala.”
Similar to “The Modified Social Benches,” the piece is not widely used by students as seating space.
Bhojwani pointed out that students who venture into the halls of CMC faculty office buildings have the opportunity to see some more “underrated” campus art, should they be interested.
“If you actually go to the third floor of Bauer North, where the faculty sits, there is a lot of cool art hanging there,” Bhojwani said. “One of the original maps from Hawaii is actually there.”
At the end of the day, students have yet to reach a general consensus regarding the art’s appeal — but not for lack of interest.
Eric Workman CM ’24 underlined an indisputable feature of the installations.
“To be honest, I’d generally consider them an eyesore,” Workman said. “But I do agree that they are often conversation starters and at least make the campus setting more unique.”
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