​Why I Am Continuing to Research the Farrah Fawcett Statues

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At this point, I am realistic about what I can and cannot accomplish regarding the two proposed Farrah Fawcett statues in Texas. The Corpus Christi project has already received City Council authorization, while the Rockport sculpture is being publicly promoted for an unveiling in January 2027. Although circumstances can always change, I do not currently see a realistic path by which my objections alone are going to stop either project.

However, that does not mean my interest in these statues ends when the bronzes are installed. In many ways, the more important work is only beginning. I have submitted public-records requests and contacted organizations connected with both projects because I want to understand how these decisions were made. Who commissioned the sculptures? When did each project begin? Why was David Deming selected for both? Who chose the Charlie’s Angels imagery? What consultation took place with people or organizations familiar with Farrah, and what alternatives were considered before two permanent memorials returned to essentially the same period of her life?

Once I have the available records, I intend to write a series of detailed essays examining both projects from beginning to end. My purpose will not be to attack the people involved, nor will it be an exercise in simply declaring that I dislike two statues. I want to examine the decisions themselves, compare those decisions with the historical record Farrah left behind, and determine whether the process used to permanently represent her was worthy of the person being honored.

If these statues ultimately become part of the Texas landscape, then the history of how they came to exist deserves to be documented as well. A bronze monument may become permanent, but that does not make the choices behind it immune from examination. If anything, permanence makes those choices more important.